bassace

In my experience, I can put up with a lot from a drummer as long as he keeps his kick drum under control. So often I get reports that the bass is too boomy - when it is the bloody kick drum.

Sorry, it's actually about musicians. - Strange, that! Yes, and my sig is very long but you might care to help me by purchasing my Phil Jones amps.

A heads up for any DBers. I've got both amps up in the Amps for Sale section. Both very good for double bass.

In the words of M'Learned Friend, I understand the Enemy are some sort of beat combo. Never heard of them before but saw them interviewed on Breakfast this morning. Came across as a thoroughly pleasant bunch of guys, the boy Tom particularly so who reminded me of a young John Lennon. Any fans out there?

Also, remember that It's a really good double bass that has all the positions on all the strings at the same volume/tone/sustain level. I've got four and haven't quite found it yet. So it's a case of knowing your bass well, finding its strengths and weaknesses and how/where it likes to be played. If you play in the flat keys as I do most of my time you'll be playing a lot on stopped strings but the open strings are an integral part of the pentatonic scale - in passing if you like. If I play a lot of opens I find I damp them with my left hand .

We did a National Trust picnic last night with the seven piece at Upton House. Crowd a bit down because of the 'promise' of bad weather but a good time was had by all. We were under a gazebo and elected to play through without our two breaks. Just as well because it started to rain heavily at 9.30 when decided to finish. Today at mid day with a three-piece when the whole village of Great Rollright seemed to be crammed into the village hall. V enjoyable, then we went on the Chipping Norton with the same band to do the Town Festival; weather held off, good crowd and great sound men. This evening out with a five piece to a pub in Berks which should be OK. Tomorrow afternoon, same band on the back of a flat truck at Wantage for their celebrations. Hope weather is OK then, we'll see. But No Cancellations!

Basschat is good, so's Talkbass - end of, probably not on this forum tho' but that's what it's all about. A guy from oop north came down to see my basses and he told his mates at work that he was going to meet this guy (me) whom he had meet on a forum. Oh yes? said his mates with heavy irony and raised eyebrows.

Thomann may be a better bet.

I've gone for Dave Holland; his Miles connection alone would be interesting. Shame James Blanton didn't get a vote tho'. He was a real ground breaker and died in his mid twenties, as did Scott LaFaro who also died young and was equally inovative.

[quote name='Bilbo' timestamp='1338462484' post='1674870'] I have a German and French one. One cost about £200 the other was 'free' with the bass. I can't really tell the difference yet. My point is that, until you have some emblance of ability with one and some insight into what they are supposed to be for, it is hard for you to make an assessment. I say get one of this starter bows and plunge right in. Endorka, on here, has one of the Yita bows and swears by it as do several others. I say try one and then, when you are nailing it, you can try out one made of unicorn horn and angel's hair and know where best to spend the money. [/quote] I've got one with angel's horn and unicorn hair. It doesn't sound too good.

Kind of you to ask. My arm has been 'playable' since the beginning of March. The gig is OK but I feel a bit of pain the day after, so waking up next Wed could be, er, interesting. (sorry, Seashell, didn't quote your post but hope it made sense)

One on Sat, three on Sun, one on Mon, one on Tue. Some are Jubilees but not quite sure which ones. They're gigs.

You never forget your first gig on DB, it's a memory that stays with you. You've got a great bass there John so here's to a lifetime of DB.

Thanks Keith. I ordered one today from Mark at Bass Direct. I was offered one at the weekend from Sell5 but for anyone who has been asleep during the weekend he has turned out to be a multiple scammer. No harm done tho'. I took my PJ flight case to a gig at the weekend and was not happy with the sound at all. Bit too 'polite'. So I'm giving the GB a go. I've told Mrs B that if I ever buy another amp after this she can shoot me (rowing reference there). I'll let you guys know how I get on. Incidentally, at the last gig of the seven piece we were on a stage with a very thick carpet - why do they do that?! I was using my MB200 into an Epi 10" (thanks for that, Keith!) but due to the carpet the notes were getting chopped off short. Out front they said the bass sound was great but I thought it was awful and if you can't enjoy the sound you're making............................ Guitarist used an MB200 into a Wizzy 10" and that was very good indeed.

So I suppose that goes some way towards the definition of an expert musician - see other post. [i]Someone who can sort his tax affairs out.[/i]

[quote name='jonsebass' timestamp='1337971401' post='1668293'] So, one thing ive learnt is to keep a note and receipt for everything. Now - do i just do this for the earnings I receive, or totally for the band; IE - Gig at X pub = band gets paid £200. Out of that £200, we all get £40 (£200/5) Do i just record MY expenses, and leave it to the rest of the band to do their own? [/quote] Yes, unless you're the leader.

If you've got a day job, don't bother with self employed stuff but if you must, you can use the box 7.1 to declare any other income. In a gigs sense this is actually profit (money received, less all the stuff that's been mentioned in the previous posts). So the probability is that you won't have made any profit. So ignore everything but still keep your records handy and do end-of-year accounts for your eyes only.

At the very least, however infrequently you play, keep records - a simple 'exercise' type book will do it - of every gig you do. Record the cash received, the mileage you travelled, and stick £5 in for sarnies. You may also want to do something about capital depreciation of your gear but you'll need the original receipt. Then a few expenses - batts, strings etc. At the end of the year you'll probably have made a loss but if there's a small profit coming up see if you can add to your expenses or get a small item of gear to balance the books. Then put the book away and do nothing. You won't have a profit, or if you have a loss just forget it; don't try to offset it. But keep records, that receipt you signed could just come back and bite you one day. Also remember, even if you get cash even that will be recorded in the payer's accounts. The only 'safe' cash is from the bride's dad! And I even record that.

Does any DB player out there use a GB STL 3.0-10T combo and if so what's the opinion on it. I'm currently looking for a second hand one to buy but if I don't have any luck I'll have to consider a new one. But before I do this it would be nice to have some players' comments. I find that I'm using a 10" cab more frequently these days, even in quite big rooms - and I seem to get a lot of positive comments from people in the audience, more than previously when I didn't get any at all. Clarity perhaps?

Bilbo will be pleased she put a long frock on. Band was good, did they all come over with her? I recognised her regular piano player.

The bass player on a lot of her stuff, Les Hurdle, and I were at school together at Forest GS, Winnersh. Last time we played together he was on guitar and I played washboard. But that was [i]a very long time ago. [/i]Always liked her stuff, particularly that unique sound to her voice. RIP

Clarky, commiserations. Our sax player knocked my Martin over during an interval. I used my MU insurance to take it to George Martin and get it expertly repaired FOC. Join the MU, if only for the insurance.