Huge Hands

Interesting, as a ginger who retreats at even a slight beam of sunlight, I've been struggling with the heat for weeks. Feels like we're talking about different countries...... Admittedly it is not like this every year.... Hope your relocation goes well. My dad's mate was married to an Italian lady and when we were kids I just remember regular visits to their house for days of coffee and amazing food.

Welcome Chris, I came at it from a different direction so play bass guitar and sometimes upright bass (plucked only - mainly for the look and sound) with a concert band alongside tuba players. I have never managed to get my paws around bowing and recently found out I am allergic to rosin! I'm sure if you've played in the Welsh Guards you're at much more disciplined and competent level than me! As a former trombone player I have been tempted to look into a sousaphone or tuba but I know the band would want me to stay on that if I picked it up enough!

I always refuse to wear one, even as my hair starts to thin (I've been lucky to get to my 40s before this has been mega noticeable). Some may pull off the "cool bassist in a hat" thing, but I've always thought I would always end up looking like a "fat cnut in a hat". I would love to play in a cool hip hop type band where I could wear a cap backwards or something, but always seem to end up in suited and booted blues and soul bands. I have had so many bands try to convince me to wear some sort of pork pie or wide brimmed trilby thing, but I always refuse. I felt it was right to make this stance after I left my last blues band and the next bloke, who didn't look too different to me - always had a trilby on - ugggh. I think my fear of looking a cliche comes from around 1993 when I was into acid jazz and funk, tie dye etc but my mate convinced me to go and see the US blues man Walter Trout at the Mayfair in Newcastle. He was great but I remember his stocky bass player wearing a long leather jacket and wide brimmed hat. Even worse, his keyboard player had Brian May hair and spandex leggings printed with a keyboard all up the side of his legs...... That was out of date even then.....

I've had a NXT5 for about 4 years. I wasn't aware there was an active version, must be a new thing. Mine came out the box with a lovely low bass guitar type action which I've kept. I'm not a bower, but when I have feebly tried I think the action would need to be raised for that as you just constantly catch 2 strings at once. I find that when I stand next to it while playing it doesn't sound very DB, but if you listen to a recording of it from across the room, it really does. Weird, but that's how it is for me. I love mine, not sure of this is helping you make up your mind though 😄

Not really into this but has reminded me to check out other Tiny Desk offerings. It's the new Jools Holland for me. Loving the Erykah Badu one I just found....

I remember in the 90s my mates were into obscure comics. One was an oddball superhero called Too Much Coffee Man. Compared to their usual XMen type stuff I quite liked this one. I remember one strip where he is talking to a girl who informs him that Brown Eyed Girl by Van Morrison is actually about butt sex. "You know, down in the hollow, playing a new game?". The strip cut to him wide eyed saying "Thanks, I'll never listen to that song the same way again". It has been the same for me ever since too.....

I can remember getting a similar band when I was a in-house sound engineer and trying to throw everything at it. I borrowed every mic/stand I could and tried to close mic everything, even though we had 20 mins turn around between gigs.. Problem was, I was used to pro-brass players setting their own mics up. We flung a load of mics on stands out and ran off to FOH to do a line check...when the curtain went up - they hadn't touched them! We ended up with mics pointing down, up, left, right, but not at the instruments! I ended up having to do an ambient mix from the best mics I had. In a way, it probably worked better than close mic'ing. They also obviously weren't used to working with monitors and hearing themselves. When the first song ended, the vocalist/compare started to talk and ended up putting his hands over his ears so we killed that monitor straight away.... This was a 1200+ seat venue, and a gentle reinforcement certainly worked fine in a room that size. I don't think you would need too much equipment - perhaps just a bit more practice with what you have? Perhaps mic the vocalists and put the guide they use (most likely piano) only with their voices in the monitor? If the guitarist is having issues (wow you found a quiet guitarist?) stick a mic on his amp to give you a "boost" option FOH and only permit one trusted soul to have control of that.... Finally - where are you based? The concert band I play in would kill to have 4 trombones and four trumpets right now....

I used to play in a band where the guitarist insisted on counting in all songs with his foot, a'la Herman Munster stomping on a broken floorboard. It was because he liked to kick them all off with a little widdle, or rhythmn, and then have us all join in. Problem was his thumping, as well as being really embarrassingly loud, never matched the pace of his playing, so you just had to hope you could get the beat from his avant guarde widdly slide before it took off.

Shows how times have moved on that the owner of a music shop doesn't know what a euphonium is.....

I feel a mini bass bash coming on....😉

As a former FOH engineer, I would say this: I used to always initially push to go pre-EQ as you never knew what silly things bass players would do mid gig to hear themselves on stage which might cause problems with resonance or mush out front.. However, if a bass player made a fuss about a "unique sound" or wanted post EQ, I would usually understand and go that way. A lot of bass players didn't have a clue what I was talking about or would say "it's up to you". In my experience (and only my experience) 90% of bass players are in a certain tonal range that you can hear and easily recreate FOH. I used to mainly use EQ to suit the room and never really used it to override a players tone and boost or cut a sound to try and change it. The perceived sound is often made more by the mix of the overall band along with room resonances etc, not because some devillish sound control freak is purposely changing your tone. Of course there are some hopeless sound engineers that will leave a compressor across your channel and not hear it has totally taken all the bite out of it, or not hear the signal is clipping, or the line has gone one-legged. Those guys just can't be helped. A bit like the bass players that turn up with home made pedals that output DC V to your hired backline, or don't understand the laws of headroom on a signal.....

I think a lot of it is governed by PRS. I used to work in a shop about 25 years ago where all of the musak was supplied by Rediffusion and was really poor cover versions of middle of the road pop. I'm assuming they had a set list of songs that they paid PRS for and imagine they got discounted because it was poor copies and not the originals. With only a 60min max cassette, it used to wear thin after several 8hr shifts. That's how I'm surprised @Leonard Smalls could just pick and choose (albeit Mozart stuff is so old it is probably licence exempt) unless the Garden Centre has a blanket PRS licence? I seem to remember @cetera had something to do with PRS - I'm sure he could advise how it all works - he'd certainly be a lot more up to date than me!

Liked this. Thought his Moog sound and solo was very reminiscent of Sean Martin who he used to play with in Snarky Puppy. Also good to see Captain Birdseye grooving along in the audience.....

That is lush. I didn't know AGC did painted bodies. GLWTS.

I recently bought 5x Gotoh GB707's from these guys: Swift delivery with no issues. They are based in the UK, so might be able to help if the model you want is not listed? https://www.gluedtomusic.com/ NB: I am not affiliated in any way.