Linus27

I was lucky to be one of the few who has been pro and I say lucky as for me, I was living my dream so I look back with absolutely zero regrets. It is incredibly hard work, absolutely no doubt about it and the band have all fallen out and no longer speak to each other, arguments with the record company resulting in us suing them and winning, arguments with producers, managers and A&R guys, we've had it all. Plus its incredibly tiring both mentally and physically and even go as far as stressful and a pressure cooker environment at times. However, I loved absolutely every second of it because I was living my dream. From the many years of playing hundreds of gigs, travelling up and down the country, building a buzz and a following to then get the offer of a record deal and that moment where you go into work, stick two fingers up and say to all the doubters, you've done it and you're out of here, see ya. Then putting pen to paper and actually signing your record deal. Getting an advance and heading down to the Bass Centre in Wapping, picking out your dream bass, a huge rig, a spare bass and other bits and pieces and saying, the record company will pay just felt so good. Spending 6 months living in a studio with a top producer recording the album and b-sides while having our own chef, cottage and being able to focus 100% on music and being creative was incredible. Then going on tours to promote the album with our own crew, tour bus, tour manager was to me awesome. I loved going on tour, travelling, seeing new places, staying in hotels, meeting new people, playing new venues and being fed and watered was amazing but the rest of the band didn't seem to enjoy it as much and found it tiring, boring and a bit of a slog. Plus, playing two John Peel session, a Virgin session, Radio 1 roadshows, advert music, songs on the radio, CD and records in shops, interviews, photoshoots which I did hate, and then all the fan mail, gifts, being spotted and the attention. What's not to like but as I say it was hard work. Being locked in the studio was hard as you'd have periods of doing nothing for days and its no 9 to 5 type schedule either. For example, it's 2am and we need you to lay some vocals down or let's start recording the bass for this song at 9pm and after trying lots other ideas, its 4am and you are mentally drained. You then go to bed to then get called back 2 hours later for something else. Then, being locked in a studio for weeks or months, not seeing anyone but the same few people can do things to you. Just going out to the shops feels odd and all of the band had periods of paranoia thinking people are staring at them. Plus you don't see girlfriends or family and you do kind of get used to that so it can cause tension when you do to the point of feeling like you don't want to be there and you can't wait to leave again. Then the pressure of writing new material, maintaining an image, not just from gig to gig but photo shoots, interviews, TV etc. Keeping relationships among the band and crew can also be challenging and maintaining a positive attitude to keep selling the band and yourself to fans, promoters, radio stations, pluggers etc. can also be draining. You do live in a bubble and you can be so isolated from the real world but also living in a pressure cooker and not actually realise until it explodes. However, we were pretty smart, we knew we were all young so we negotiated with the record company to not give us our advance in one hit to last us 3 years as certain band members would spunk it all on various alcohol and substances within a year but instead, pay it to us monthly. We also set a routine which was Sunday and Monday is our day off, Tuesday, Wednesday and Thursday we'd either stay at the rehearsal studio to write songs and rehearse from 10am till 7pm and then spend the evening having dinner and then Friday and Saturday we'd gig. If we weren't at the rehearsal studio, then me and the singer would stay at mine to write songs and the other two in the band would do band admin, promotion, tax forms etc. It actually worked and we stayed on the straight and narrow and did quite well and actually became quite savvy. So as I say no regrets. This is the moment I'm actually signing the record deal with the lawyers in London 😁 My bass corner at ths rehearsal studio.

I would buy an original 70's Fender Fretless Precision or a fretless Ibanez Musician. Both would be considerably less than $4k.

Miles Davis - Kind of Blue 50th Anniversary Edition.

I've been here since November 2007 and this place is awesome. I'm here everyday although I post a lot less than I used to but always here reading away. As a fretless player these days, there's less things to talk about that's relatable but I've made some great friends, bought some great gear and I try and help out where I can. Plus, the mods do an awesome job keeping the place running and making sure its friendly and respectful.

Looking awesome sir, love how you're getting regular updates as well.

Brilliant, thank you, have found it on their webpage so will purchase one and a spare.

" it's good but it's not right" 😁

It plugs in. You plug the Euro plug into the UK adaptor, sliding the two pins into the UK adaptor.

That's quite interesting as I only use the Zoom MS60b for the Opto Compressor but this week I purchased an Ampeg Opto Compressor to replace it which actually arrived this morning. So I will be replacing the MS60b from now on so it will be interesting to see if the hum stays away or not.

@BigRedX This is the cable. It's the main lead with Euro plug that came with the power supply and uk adaptor that also comes with the power supply. When you purchase this power supply they always supply the UK adaptor as well.

Absolutely brilliant gig last night which was one of our regular acoustic residences that we host every other month where we introduce one or two acoustic solo or duo acts and then we as a band get up and play for just over an hour. Super busy with a very engaged and attentive audience who really clapped and showed their appreciation after each of our songs. It was a night of original music including 4 new songs and we ended up doing two encores. The highlight for me was the compliments I got after the gig. One lady came up to me and said, "apologies for interrupting (I was talking to my daughter) but I absolutely love your fretless bass playing, it reminds me of Del Palmer and the fretless playing on Kate Bush's first album". This absolutely blew me away as I'm a huge John Giblin fan, probably my favourite bassist along with Pino and Jamerson 😁 However, about 10 minutes later, another couple came up to me and thanked me for making her night so special. She said she couldn't believe the quality of music being played in a pub in Farnborough but to then hear fretless bass, her favourite instrument just blew her away and she couldn't keep her eyes off my playing. She turned out to be a vocal coach who also tours in a lot of different tribute acts but I was breaking her as that afternoon she had been to a funeral for a friend who happened to be a fretless bassist so it was joyous but a tough evening for her 😥 Then another guy came up to me who happened to be a Canadian drummer and said he was mesmerised by my playing and loved all the high melodic stuff I was playing but also all the lower stuff. He said I was watching you play and I knew there's no frets so at some point I was expecting you get it wrong and play out of tune but you never did, not once 😎 When you get compliments like that, it just makes what you do worthwhile. I'm a little bit on cloud 9 today 😂

Thanks everyone, will try all the suggestions. Just to confirm, with bass plugged direct into the amp, there was no hum. Back through the pedalboard and hum returned. I also got time to disconnect the Mooer Reverb and Bass Sweeper but the hum was still there so I'll try the others next time.

I seem to be getting an earthing hum from my pedalboard. I’m using a new Harley Benton ISO power supply which included the Euro plug and Uk adaptor. I’m using the power cables that came with it and patch leads that I bought separately. The thing is, it doesn’t always do it, only at certain venues and when I touch my strings it stops. I’ve also tried different basses and no difference. is there anything I can do to eliminate this? Anything I can plug in that will cancel the hum or is it a case of buying a better power supply.

I adore my Gnome IPro 280, it is small, compact, punchy and sounds incredible. It easily matches the volume of my Little Mark IV but just lacks a little bit of EQ options and transparency in the tone. If it had a little more tonal options like the 600w big brother then it would be perfect. Saying that, I have never not been able to get an amazing tone out of it and do use it live a lot of the time rather than using my Little Mark IV. Incredible amp.

It also still seems to have the old retro looking 8 bit display screen which is kind of nice for a retro feel but a more modern LED screen I think would of been nice. Probably put the price up somewhat though.

Ooooh exciting I love my MS-60B and depending on what is different, I might get this new one. Shame about the colour of the new one, it looks a bit cheap compared to the burgundy of the current one.

Here are my current fretless basses.

Looking amazing already, love the contrast between the body wood and the neck wood.

This thread has been brilliant. I've discovered that all the strings I've liked, played and come back to over the years have been Hexcore and the the ones that have been less favourable have been Roundcore. Up until now, I didn't even know the difference. As a fretless player, I've never tried Nickel strings but after a few comments on here, I gave a set of Rotosound 66 Nickel Hybrid SM66N a go on my fretless Jazz (needed strings anyway and they were in stock for £19) and oh my, the tone is to die for and they are amazing to play. So my next move is to purchase a set of Newtone Nickel Hexcore rounds. I'm expecting really good things after the comments on here.

Thanks @itu, I had a play around and I swapped the Spark Booster and Compressor (Zoom MS-60B) around and it sounds so much better. So my board for fretless now looks like this. TC Electronic tuner > Boss OC5 Octave > EHX Bass Clone Chorus > Mooer Bass Sweeper > TC Electronic Spark Booster > Mooer A7 Reverb (Always On) > Zoom MS60B Opto Compressor (Always On)

I use the 208 as posted above and bought mine new from Andertons for £199. So even new they are not mega expensive. Great choice though.

Warwick Gnome IPro 280 and a TC Electronic 208. Light and portable and can be used for practice and gigs. It's my small combo option.

Here's my pedalboard used for fretless. TC Electronic tuner > Boss OC5 Octave > EHX Bass Clone Chorus > Mooer Bass Sweeper > Zoom MS60B Opto Compressor (Always On) > Mooer A7 Reverb (Always On) > TC Electronic Spark Booster Not sure the compressor is in the best location but I read it's best after Bass Sweeper to stop the spikes. I'm wondering if I should move it last in the chain?

I had a Hartke HA7000 when they first came out and quite simply the best amp head I've ever owned. Bought a second hand one about 5 years again and it confirmed it was absolutely amazing. Wish I'd never sold it but they are big heavy old beasts but truly amazing.