cybertect

[quote name='lonestar' timestamp='1442848829' post='2869969'] Ivor Cutler [/quote] +1

Possibly a controversial choice here, but Kate Bush seems to (almost) always have one track on each of her albums that makes me cringe. Case in point: [i]Experiment IV[/i], which was the bonus '[color=#252525][font=sans-serif]previously unreleased track[/font][/color]' on [i]The Whole Story[/i] greatest hits, which leaves me embarrassed for her every time I hear it. I think there's a similar example on just about every other album she's put out. [i]There Goes a Tenner[/i] sticks out on the otherwise magnificent [i]The Dreaming.[/i] Lots of other examples to be found. Oddly, [i]The Hounds of Love[/i] is entirely free from such aberrations, which is probably why it's my favourite KB album.

As of a couple of weeks ago, it's been all about my new fretless Stingray 5; running through every song I know with it, and learning quite a few new ones just for kicks. I know from past experience that once I get on a fretless buzz, I will attempt to do absolutely *everything* with a fretless and usually get away with it My Sabre has been taking something of a back seat.

[quote name='Old_Ben' timestamp='1442654443' post='2868466'] could always try in ear monitor system our vocalist swears by it, there are some good things out there and they dont take up much room in the van/cars [/quote] And IEMs would eliminate any problems with feedback

[quote name='GrammeFriday' timestamp='1442593869' post='2868116'] Ah, the Westone Thunder! Good spot, sir - you certainly know your 80s guitars. [/quote] I had it easy - a Thunder 1A bass belonging to my best mate at school was probably the first bass I ever laid my hands on. 35 years later we are still playing in a band together and the same bass lives on the wall in his recording studio.

That Westone Thunder guitar looks precariously balanced too - a slight jog of the cables on the floor will send it over.

[quote name='chris_b' timestamp='1442567292' post='2867794'] There are a lot of British bands who could do with putting in the time. Many of the guys you see playing in pubs and clubs have no groove and are plainly not listening to each other or playing as a unit. Hopefully if you had to play for 4 hours a night the bad and indifferent players would fall by the way side and the whole music scene would improve. [/quote] From my (admittedly limited) experience of watching bands play in bars in Chicago, DC and Virginia, the standard of musicianship in the US is considerably higher than it is in their equivalents in the UK. I've usually put that down to the fact that they are playing much long sets together and consequently 'putting in the time'. As a casual, corollary observation: it does seem that US audiences are much more [i]into[/i] the idea of watching a band play live in a pub/bar than most I've experienced in the UK, certainly round London and the South East*. Americans do seem to be more inclined to dance at the drop of a hat and actually engage with what's going on on stage rather than hiding in a corner with their pint and talking over the music, or standing at the back of the venue with their arms folded and an 'entertain me, then, I dare you' look on their faces. Of course, it's possible there's a bit of a positive feedback loop here: better bands make people more inclined to dance, etc. * from the times I've played north of the border, Scottish audiences are generally more responsive. I am, however, amazed at the low rates of pay all that time put in generates if this is typical [quote name='blue' timestamp='1442550625' post='2867694'] While we get our share of the good festival & fair gigs in the Summer were are still classified as a regional bar band. Here's the deal for all of our bar gigs and I have 2 this weekend; 1. 4 hours with two 15 minute breaks 2. $100.00 a man minimum ( we won't turn the key for less)[/quote]

Oh, hello!

[quote name='mcnach' timestamp='1442512188' post='2867510'] The Squier VM series fretless is pretty cool. I'd get that. [/quote] I was very happy with the VM Jazz that was my first foray into the world of fretless after nearly 30 years of playing bass. I put a set of Chromes on it and played practically none of my other basses for the best part of a year after I got it, even neglecting my '79 Musicman Sabre. I had no issues gigging with the VM and had quite a number of complements on its tone from people who heard it. I'm really more comfortable with active basses, but I have little hesitation in recommending them as a fretless starter. I only sold it a couple of weeks ago to help pay for a fretless Stingray 5, which will become my main instrument unless I really need frets, so the VM must have done something right

I must say these look very tempting. I've a GK MB500 (mostly bought for the features it offers over the MB200 than the extra power) and GK 210T cab that I've used for over 20 years. I've noticed the GK cabinet occasionally runs out of puff as I'm playing 5 string a lot more and I'd been eyeing the Super Compact or Retro 210 as a better match for the MB 500 and my ageing back. We're not usually that loud of a band (a 4 piece with just one electric through a Fender Twin and a DI-ed acoustic guitar to compete with) and my signal is pretty clean. One of these would be ideal for rehearsals and small gigs and would supplement the 210T for bigger gigs, maybe with a view to getting another One10 or a Super Compact further down the line as funds allow. The prospect of a portable and flexible modular rig is very attractive.

I wonder what Brian May would make of it...

[quote name='Happy Jack' timestamp='1388739976' post='2325369'] My original post mentioned that the Amazing Slow Downer has an EQ section which allows you to drop out pretty much all of the bass. [/quote] On Macs, Capo, which was mentioned earlier, has the same facility, with presets for taking out male and female vocals and to isolate the bass (though you'd have to dial in removing the bass by hand). It also has a handy frequency analyser which works out the chords and shows you which notes are being played on a keyboard scale - making it much easier to work out a bass line. Edit: I've recently discovered that Capo allows you to make microtonal adjustments to the pitch of playback (to 1/100 of a semitone) [quote name='BigBeatNut' timestamp='1301152326' post='1177315']Suprised no-one has mentioned 'Vox' (used to be 'Toolplayer') for the mac. It appears to be in the same ballpark as Best Practice and it's my go to rehearsal tool ... pitch changes (now calibrated in 10ths of a semitone ... good enough) tempo changes (plus a bunch of bizarre stuff you most likely wont need, but it's hidden and doesn't get in the way.[/quote] Vox seems to have gone rapidly downhill with recent versions. Lots of complaints of instability, the awfulness of UI changes and an attempt to bring in a software rental pricing model.

[quote name='Phil Starr' timestamp='1442340774' post='2866245']This is really a question for those regularly gigging bands that carry their own PA.[/quote] Point taken. While it wasn't perhaps entirely serious, I only asked because I seem to have played at quite a number of local festivals round South London this summer where the standard of stage management and available resources is a bit of a crapshoot. They seem to be usually best set up for singer-songwriters with just an acoustic guitar, although someone else has been booking bands like ours for the stage. I've become quite adept at getting the gear on and off stage in quick order; put my rig together before going and then just manhandle it to where it's needed in one piece. Bringing a couple of our own mics and stands with us has been useful on occasion, too. You just have to learn to live with less than optimal cable runs in these circumstances.

[quote name='Big_Stu' timestamp='1442321214' post='2866011'] Before Cash Converters it was much more fun checking out gear in "proper junk shops" like Roddy Boston's on Leith Walk, or the one briefly on Montgomery Street and there was another on Elm Row. [/quote] I remember when I was at university in Cardiff in the mid 80s, a junk shop on Broadway in Splott had a Gibson EB3 hanging up on the wall, stickered at £100. I had a play and I didn't get on with the bass. I reckon it probably needed a good setup; the action was awful. I was mainly a guitarist then,and besides didn't really have the cash, but I've often wondered if I should have bought it.

[quote name='chris_b' timestamp='1442165195' post='2864823'] Bass Northwest, Seattle. Mike Lull, Bellevue, just outside Seattle. [/quote] You may have to hurry - Bass NW is closing for good on September 30th http://www.bassnw.com Edit: Evan closing Bass NW for 'health reasons' according to the 'other' forum

[quote name='fretmeister' timestamp='1442252912' post='2865544'] These http://www.amazon.co.uk/Superlux-HD668B-Headphones/dp/B003JOETX8 As good as my silly money Grado cans. Annoyingly! [/quote] After years of mucking about with cheaper cans, I am very happy with my Grado SR 80e headphones that didn't break the bank at under £80.

Curious how the 'cable nazis' deal with a half hour slot on a bill with a load of other bands and you have about two minutes at each end of the slot to set up and break down while another band is doing the reverse on stage at the same time... Do you still take precious minutes out of your performance time to get your cables just so, or do you simply not play these kinds of gigs?

As promised, I've posted the rest of my pics on a new post on my Denmark Street project blog: [url="http://streetofsound.uk/event/event-juan-alderete-at-wunjo-bass/"]Street of Sound[/url] Here are a few more samplers

[quote name='Steve Lawson' timestamp='1441970154' post='2863342']That pic of me and him is amazing, Cybertect - thanks for taking it!! [/quote] You're welcome. A couple of people seemed to think I was you right at the beginning

Here are a couple of photos as a sneak preview [url=https://flic.kr/p/xvP7wL][/url] [url=https://flic.kr/p/xvP7wL]Juan Alderete and Steve Lawson[/url] by [url=https://www.flickr.com/photos/cybertect/]Rob Telford[/url], on Flickr [url=https://flic.kr/p/ytyhyv][/url] [url=https://flic.kr/p/ytyhyv]Juan Alderete[/url] by [url=https://www.flickr.com/photos/cybertect/]Rob Telford[/url], on Flickr

Bluejay had one at least. When I'm done editing, I'll post some of the photos I took on my Denmark Street project site: http://streetofsound.uk (I was the annoying guy crawling about on the floor with a camera)

It wrapped up a few minutes ago. I didn't realise this wa a Basschat event too till I saw the name badges

[quote name='Andyjr1515' timestamp='1441797637' post='2861820'] Hi All Some of you will have been following the [url="http://basschat.co.uk/topic/259782-new-project-bubinga-fretless/"]build thread[/url] on this but, for those who don't want to trawl through the gory detail [/quote] But of course, since you left that link there, I HAD to read it. Kept me occupied in the bus home... Very impressive stuff

Did the first rehearsal with the band last night (though somewhat inconsiderately our drummer was off on holiday). My fretless Jazz had lines; practice over the weekend paid off and I think I have my intonation fairly well sorted with the unlined board. The other guys liked it a lot and, oh baby, I am [i]enjoying[/i] this bass Being able to dial in the Piezo for some numbers that suit it is a joy.

[quote name='fretmeister' timestamp='1441731673' post='2861319']I went for the lighter set that was 50-65-85-105 - but even they the nut needed a little widening. I don't have any nut files so I stole my daughters metal nail file and took it slowly. They have much less tension than an all metal set of similar gauge but they sound immense - deep and plummy with the tone control all the way off, but still bright and slappable with it up.[/quote] I must admit to have been most intrigued by your note about these strings on my fretless Stingray's NBD thread. Not so sure I want to go modifying the nut to fit them though. As a band I play with tunes a semi tone flat, that's only liable to be worse if I went for a heavier set to keep the tension up (I don't like strings to be too slack).