Acebassmusic

.....and now its dissapeared! 🤔🤣

Gator do a wood amp stand - here. Your's looks much more giggable as its sturdier, looks better and also more compact that the Gator one. Probably lighter as well. Yours was £9 plus time, theirs is £108 plus shipping! No contest, you win 👍 You probably should get geared up for the projected incoming orders 👍🤣 Well done!

I think having 1 person in the band to count in all songs can give a bit of consistency to start tempo. The number of times I've played in bands where another musician (usually the guitarist) would start the song at a totally different speed due to nerves / adrenalin / last song played / they just feel like it! 🤣 In my band we try not to leave much space between songs and use the drummer as the focal point. They're queing up the next tempo whilst the guitarist checks tuning or someones changing patches etc. Everyone knows who does the count in and should there be any technical problems they can signal to the drummer to hold off. It seems quicker and pretty efficient. I agree that it's everyones responsibility to keep time together but it's the drummers role to provide the pulse that we keep time to. If the drummer can't keep to the rehearsed beat then you've got problems...... I'm in the house band for a local jam (so no real pressure on getting things right) and we regularly play "Le Grange" which on the record is about 160bpm. The guitarist always starts it off about 170bpm and by the end of the song we've achieved 190+bpm Our drummer is usualy solid but for whatever reason on that one, goes astray 🤣

Corrected that for ya 😉🤣🤣

I second @PaulThePlug and think its a reference to another thread that was discussing the merits (or not) of shimming a neck....it all went a bit "Talkbass" on us 🤣 Back on topic (sort of) I vaguely remember a bass company that solved the deadspot problem by milling out the back of the headstock and added a weight of the correct size to eliminate it. Bit drastic but could be a permanent solution. 🤷‍♀️

I use a few different wireless units (for practice, rehearsal and gigs) and the ones that dont come with a clip (LEKATO WS-90 and Smoothound) I came up with a solution that works for me. If you're jumping around the stage then you'll probably need something more substantial. I simply use a hair wrap the strap end is fed through, patch cable and jack to jack socket!

Just sold a number of cables to John. Easy deal, quick payment, first class thanks

I use a Korg GA-CS GA strobe tuner for my 5 string basses and it does the low B and intonation great 👍 I always plug into it (as opposed to using the built in mic) to get a better reading.

Funny how guitarists always get an "end of signal path" feed to the desk to ensure "their sound" with all EQ and effects are included. When the bass player politely asks for the same option it's often met with a look of confusion as to "why do you want that? I set your tone at the desk" 🤣 Whats often needed is a bit of a balance between on stage sound (tone, definitely, but usually volume level!), PA operation and communication with the engineer as to what the band are looking for.

Just sold a number of cables to Brian. Easy deal, quick payment, first class thanks 👍

Just sold a Ken Smith strap to Warren. Easy deal, quick payment, first class thanks 👍

Just sold a speakon cable to Pete. Easy deal, quick payment, first class thanks 👍

Just sold a speakon cable to Nik. Easy deal, quick payment, first class thanks 👍

I'm enjoying thread and learning new tips from it 👍 For 15 years I ran the sound for my band from the stage whilst playing bass and doing harmonies. This doesn't give you much time to learn on the job! It was important to me to occasionaly set up the PA (and full band in a decent size room) and have "hands on time" to become really familiar with the mixer and any new mics / gear that had appeared. I eventually found a solution to getting the singers to co-operate......"Do you want to sound great or sh!te? 'Cos I can do both 🤣" Also getting them in front of the PA so they can hear themselves and the changes between the augmented and dry sounds helped.

I know this doesn't help you but....🤣

Not quite the same bass but I put a Babicz bridge on a Fender FMT 22 fret that I had 👍 The 5 string version I had weighed in at 140g / 5oz

I must have missed the memo but I'm not sure "what bands actually need in a bass player" means and can be quantified in such a generalised manner. Each band has different needs and I'm sure that swapping Stanley Clarke and Adam Clayton into each others bands wouldn't be what was needed. Horses for courses and all that. Not sure what you mean by "self-promoting PITA" either? Any company or person making a sustainable career should promote themselves. That is how they build their market and get more work. What PITA bread has to do with this I don't know! 🤷‍♀️🤣 5 secs on Google gave me THIS. I'm sure its a pretty abridged version of his musical career as his many appearances at the "Dog & Duck" probably don't make as good a selling point as "touring and recording as a sideman on a dozen records and tours" does for the reader. YMMV

Here's a looooooong but interesting review of "ski jump problems" on Talkbass where a number of luthiers / repair people have tried to gather actual data and critically analyse all potential failure modes. The top and bottom I take from it is that it seems that the "ski jump" usually is the neck bending in the area around the 14th to 16th fret where the transition from the heel (rectangle profile) to the neck (circular profile) occurs due to the cross section of the neck (and therefore stiffness) is reduced by approx. 25%. We tend to think that the bend is in the heel area (at the last frets) as that is where the strings choke out. They also talk about the effect of adding shims and concluded that fitting a shim doesn't cause the ski-jump as the neck bending they identified was not in the heel area but slighly towards the nut in the transition area. YMMV