Sean

I see a lot of people asking where "you-know-who" (real name, Sean) went to and I know that we have had some basschatters sadly pass away over the past couple of years but there are some people, I know who are still out there, not banned and do not post whereas in the past they were quite prolific with posting on here. Do any of you know anyone who falls into this category and if so, why they no longer post?

[quote name='Doddy' post='810308' date='Apr 18 2010, 02:01 PM']If you want a big logo for your band,you'd be better off buying a large backdrop.It is more visible than the speakers and when you put one up at a gig,it instantly makes the stage 'yours'.[/quote] We have a big 3m x 2m backdrop which has loads of eyelets so can be hung from trusses or whatever and a smaller 3m x 0.6m banner that gets to go on the riser part of the stage - usually hung from velcro straps that are gaffer taped (out of sight) to the stage floor.

[quote name='molan' post='810197' date='Apr 18 2010, 11:52 AM']Our 'trick' is to make sure our first three songs are the tightest & best rehearsed in the set. They are not necessarily our strongest songs but they get off to a good start and we've rehearsed them to death so we just breeze through them (usually!). We actually rehearse them as 'trio' of songs with no break for random audience chat as well. Works really well for us [/quote] I've been doing this with every band I've been in for twenty years and it is the tried and tested sure-fire way forward to get the gig rolling smoothly. The songs are always the same three in the same order and they segue into one another - not a la medley but just nicely flowed. We do change them every six months or so just for some variety and so that by the time we have repeat gigs we're different. Regular structured rehearsals help - make sure that they are rehearsals (not song learning practise sessions) and that you rehearse what you are going to do on stage. We set up in the same layout as we would on stage and run through sets to "practise" the flow and feel and to understand what everyone does between songs. Drummers fiddle with hardware and their stool, guitarists change instruments and pedal settings, keyboard players search interminably for patches and bassists adjust their hats to a more jaunty angle - all this has to be understood and worked into the set. Making sure that you have the right songs with minimum changes for the first three helps too. We rehearse "talking to the audience between songs", the only things that change are the venue name and a few other standard odds and sods from a menu of "stage banter". At the beginning of each rehearsal we do a "what didn't go so well, what went well at the last gig" session so that we initially highlight what needs work and ironing out and then at the end of the discussion we highlight what went well and whether there was anything that happened that was good that we could do again. We find these sessions hugely productive - remember though to start with the things that went sh*t and then finish with the positives so that you pick up your instruments with the good stuff fresh in your mind. These positives might be as simple as - "we packed up quickly" or "Mike coiled cables properly for the first time" - always get at least one positive. It's important that everyone in the band takes ownership of improvement and without these "reflection" sessions we wouldn't improve at anywhere near the rate we do. One major part of all this is open and honest communication and this could involve a lot of conversations using "we" and not "you". Experience is one thing but if your experiences are not examined and learned from, those experiences are just tourism. I know people who have played thousands of gigs over thirty years or more and they are still failing in the same places as they have always been and they'll never be in anything more than a mediocre band because of it. Don't wait for time served to make you better - look at what you're doing in detail and make it work for yourselves now.

[quote name='BottomEndian' post='807075' date='Apr 15 2010, 12:54 PM'][email protected] by any chance? [/quote] Please refrain from publishing my email address.

[quote name='warwickhunt' post='804366' date='Apr 12 2010, 11:02 PM']You are the bass player ergo you are responsible for the PA... that's another rule of the Bass club! [/quote] Or you should have a special Bassist's Mate sound guy that will get to know your sound and make sure you are sweet in the mix. Mine's called Goldilocks cos he gets it "just right". When the other sound guy does it for us he always get the bass wrong no matter what but he won't listen and doesn't understand how the instrument should sit in the mix. I agree with OG, I disconnect my lower cab in small venues, works a treat.

First rule of Bass Club: There is no such thing as too big a rig You are too close. Point it at your head and get further from it. It's all down to wavelengths of bass sound, can placement relative to the walls around you and room acoustics. Seriously though, you'll benefit from some foldback in the wedge monitor so you can hear what's coming out. I use a big rig in small venues and just get the soundguy to put a bit of me in the wedge mix and make sure you get a wireless (borrow one) so you can go to the back and hear yourself and make sure you're not killing everyone else in the mix.

Bought a chorus pedal from Mark. Everything cool :-)

Have a look at[url="http://www.visualsound.net/index.php/products/1spot"] these[/url] - good price, compact and you can power loads of pedals with them. They sell them at digital village.

One major thing to consider with any custom ordered factory built instrument is weight. Factory builds tend not to get the hand selected wood and it can be a bit of a lottery with how heavy the instrument ends up being. I used to have an SR5 that weighed 11 lbs and so I got rid of it. IME Stingrays vary in weight quite a bit. When I had two Lakland DJ4s one was 1 3/4 lbs heavier than the other and this made a huge difference to the playability on a long rehearsal or gig.

I sold my Spector Euro 5 to fianso and he's a great guy to deal with - lots of great communications. Payment came through smoothly and everything was easy every step of the way. Great guy to do a deal with. Thanks for a very happy transaction.

Any chance of doing a webcast?

We've seen these before but they are definitely worth seeing again... It's my NS5 by the way

A fella is going to have to have (or "of to of" if you're a "new illiterate" ) very long arms to play down in the first three frets on that Reflex. I played a "25th" while seated and it was nice but remember thinking that it wouldn't hang well with that stunted horn. Probably a very good studio bass but the knobs and way it hangs on the strap would put me off ever gigging one.

I thought it was all Carol Kaye and Joe Osbourne. interesting stuff. What's really interesting is how much they actually did themselves, especially Peter Tork.

Absolutely stunning in vintage white, Alan. I can't wait for the 5s to land. Check this beauty that Marco Mendoza has...

[quote name='alanbass1' post='785229' date='Mar 24 2010, 10:08 PM']If there is one word that sums this bass up - resonant. It has that same resonance that my '62 P Bass has - you feel the bass vibrate. If this is the result of the aging process it would be a loss if they made a version without it.[/quote] There is a cheaper version of the super BB (BB1024/5) that doesn't have the ageing and resonance treatments, check out [url="http://www.yamaha.co.jp/english/product/guitar/bb/lineup/specifications.html"]these[/url] specs.

Check [url="http://www.yamaha.co.jp/english/product/guitar/bb/"]this [/url]- all new today from Yamaha

Check [url="http://www.yamaha.co.jp/english/product/guitar/bb/"]this [/url]- all new today from Yamaha

[quote name='CraigPlaysBass' post='786113' date='Mar 25 2010, 05:53 PM']Sorry to hijack but, what's the difference between the 414 and the 424? And i think my 414's electrics are definitely powerful, much stronger than my warwick rockbass corvette [/quote] The 424 is a new bass being released today. It has a laminate neck and some upgraded features compared to the 414, which I guess it replaces. I have a BB415 (414 with an extra string ) and that has amazing pickups for a passive bass. It's reviewed [url="http://basschat.co.uk/index.php?showtopic=78057"]here[/url] and will be up for sale very soon.

Wait for the BB424.

[quote name='alanbass1' post='783616' date='Mar 23 2010, 04:10 PM']It's arrived. Wow.....got to go back to playing her, talk about it later.[/quote] "It doesn't exist without photos" is the rule, I believe. [url="http://basschat.co.uk/index.php?showtopic=81828"]Mine exists for sure![/url]

If anything happens to your OBBM cable so it needs fixing, Dave will turn it around in days and you'll be good to go again without any hassle - the backup service is second to none.

[quote name='Clarky' post='783146' date='Mar 23 2010, 10:16 AM']Thats looks so RAWWWWKKKK! Nice one Sean. So does it live up to everything you hoped (I am guessing yes!)? I think alanbass1 gets his white one this week so there should be two reviews up of this great looking bass.[/quote] It's so RAWWWWKKKK! that I'm going to have to get lessons. Lessons in how to walk more rock'n'roll I think I'd better go and book a few more tattoos as well... ...oh, I have The bridge pickup on this bass is astounding and justifies its own existence as it's so powerful when soloed; more of a thinner Stingray vibe than a fatter Jazz tone. The balance between the two pups makes this bass so versatile. I picked it up on Friday and have hardly put it down - the fact that it's very light helps especially with my crazy back issues. I'm going to get a few gigs on this before I review as I think it's only when doing the job for real that you get a true idea of what an instrument's like.