Dood

[quote name='mcnach' timestamp='1488553504' post='3249989'] It's not really about valuing yourself more or less than the others, in my view. I don't see a dep as a band member, but rather an accessory. It's like running a delivery service and 5 of your drivers got food poisoning last night at the work's night out... so I would look to hire 5 new drivers just for a couple of days. The contract with them is independent and has nothing to do with what I paid my regular drivers. Because it's a temporary contract, it comes with a different set of circumstances/conditions and that may affect the wages. The same with a dep. A dep may have to work harder at shorter notice, and being a "non-member" will not reap any further benefits from the gig (other than being asked again, if needed, I suppose)... at the same time, he doesn't need to worry about a lot of the band business. His job is simply to be able to play what he was asked, and do it when requested. In a way he is an 'emergency service' so if he ends up making a bit more I don't see it as a problem. If he ends up making less than the rest, it's purely down to him: presumably he thought X amount was sufficiently attractive. Either way, no harm done. [/quote] Agree again. I did actually write a long paragraph about contractors vs full-time staff and the different sets of circumstances, but I chose to write something short and snappy instead. This is kinda what I'm thinking though. But then, I'm a professional musician. Playing bass is my day job, my career and what feeds all four mouths in my family, keeps my car on the road,the bills paid and my mortgage covered.

[quote name='LewisK1975' timestamp='1488558404' post='3250052'] Two words that REALLY don't belong in the same sentence i'm afraid. GAS and Logic. One has little or nothing to do with the other. [/quote] Yup, that is oh so true. So very true. I'm having my maxed credit card locked away this weekend....

[quote name='discreet' timestamp='1488531112' post='3249653'] Completely normal. Everyone should own a P bass, it's iconic, the bass that started it all. They are very playable, sound great and sit in the mix perfectly. Don't fight the urge, just buy one. You'll feel much better for it. [/quote] I like you. I'm going to drop you a line every time I am thinking about making a purchase. P.s., I totally agree on the P Bass thing. J bass... maybe a Ray too, but I don't own one of those yet.

Sub n' Up by TC Electronic arrived a short time ago and at writing, I have not played a single Octave pedal that can track down as low as this one (in Poly mode). Genuinely astonished and I haven't tweaked a thing yet. 20 minutes in and this one is a total keeper. Very handy when I don't want to take a bunch of pedals out too given what the TonePrints also have on offer.

[quote name='ivansc' timestamp='1488551050' post='3249939'] You can play bass riding one of those things????!!!! Impressed.... [/quote] Yarp, and a 7 string, with one hand behind my back. It pays to offer these 'value-add' services ha ha ha!!!

[quote name='mcnach' timestamp='1488537208' post='3249729'] You're a band who has a gig you really don't want to cancel and are a bit pressed for time or it's awkward due to place/time or whatever... and you know this guy will pull it off. You need him more than he needs you... so the band may make an offer that means the dep makes more than anybody else. You are approached to dep for a particular gig, and you're free. They offer you £X. You think about it and decide £X is a good pay. You accept. And variations thereof... [/quote] Yup, great example. Any band that treats the Dep with anything less than like royalty just isn't professional. When I've been in a band that needed a Dep, we rallied round to make sure charts and recordings were on offer, gear could be borrowed, rehearsals were paid for and the Dep didn't even have to drive to the gigs. We needed them more than they needed the gig. Deps are very valuable. Look after them as you might need them again in the future.

[quote name='mcnach' timestamp='1488536977' post='3249727'] I'd say it varies: to be discussed on a case by case basis. You don't need to know how much the regular bassist makes, only how much they offer you. If you want more, then negotiate. [/quote] Indeed. I start with a fee in mind for the work required then negotiate on a per band basis. I often get asked to do short notice Dep jobs with little time to learn the set, often encompassing re-arrangements of songs, new keys and custom segways. As a Dep you need to factor in the preparation time, your travel and subsistence costs too. If you're taking less than the usual bassist then I hope it's because they get paid lots!

I think some of my least favourite headstocks are the ones where the designers were trying to make them look like the Fender outline, but slightly changed it [i]a bit[/i]. Not quite enough to look like the idea was ever any more than a sketch before it went to production.

Thought i'd bump this as the playlist is still very much alive on Spotify. Feel free to add your own favourite bass lines!

I will be there!! Expect my Instagram feed to have various pictures appearing too: [url="https://www.instagram.com/danveallbassist/"]@DanVeallBassist [/url] - Give me a follow.

[quote name='Bassassin' timestamp='1487154726' post='3237519'] Not sure why I've never seen (or contributed to) this thread myself - will post a few of my Mats in a day or two. However - the role that this community has saddled me with means I must occasonally drag you all off to Pedants' Corner for a good talking to. First thing - it's now accepted that Washburn was never built by Matsumoku - initial models were from Yamaki and production later moved to Chushin Gakki. Doesn't really matter because no-one's posted one, but pedantry's pedantry, right? Secondly (and if I don't point this out I risk being formally drummed out of the International JapCrap Obsessives' Guild): unless your instrument is an Ibanez-branded Gibson copy, manufactured before 1976 and featuring an "open book" headstock profile, it is not, and never will be, a "lawsuit" instrument. And to muddy the waters even further, even that's not technically right because no lawsuit ever took place. "Lawsuit Era" will do at a pinch, but "Copy Era" is the proper terminology, covering. as it does, the entire range of 70s MIJ and MIK knockoffs. In my defence I've had less than four hours sleep, have a stinking cold and have spent the last fortnight "sleeping" on two uncomfortable single mattresses piled on top of each other, under a couple of scabby dog blankets. And they call this a holiday. Trust me, you'd be feeling petty & bloodyminded too, if it was you. [/quote] I really appreciate the information! I was aware that the 'lawsuit' didn't happen, but I assumed that people called the period that as a 'capture all', even if it wasn't strictly true. A bit like calling a vacuum cleaner, no matter what brand, a 'Hoover'. I didn't know where the 'lawsuit' that didn't happen was directed though so I am actually happy to know that now with your other points. I hope that you are now home and under your own comfy covers!!

The 500 replaces the 470 model. I think it is a bit smaller and a bit lighter in comparison. In review, I thought the 750 was very good.

[quote name='dood' timestamp='1486074920' post='3229131'] I'm in the process of having a 'new' Precision and am just waiting for some pictures to come through. Quite excited at the prospect of sharing it! There's quite a story to go with the pictures too! (well, for me it's interesting anyway!!) [/quote] [quote name='Bassman Sam' timestamp='1486077879' post='3229162'] You're such a tease. [/quote] Yup [quote name='ead' timestamp='1486109562' post='3229235'] Dood's a complete tart. Feel free to provide clues though. [/quote] Fair comment Ok, here's a clue. My favourite bass player did something to his basses in the late 70's to mid 80's. This will end up being a tribute model in that spec. Kinda... a work in progress if you will! Rumour has it, the instrument in question is nearly ready! In other news, I've been editing my Matsumoku made Aria Pro II '76 Precision bass too and will be reposting some pictures of that. It's so close to a 'real' precision that all of the Fender parts I've bought to upgrade it with are an exact fit. Even the pickguard!!! Ash & Maple for the win.

The D'Addario Eclipse is brilliant, I have two... in different colours! A yellow one for my yellow bass and a purple one for the 7 string. Tunes to B no problem. I've just managed to get it to go as far as G# below B! For pedal tuners, I've owned the Korg Pitchblack for years and have never worried about upgrading it. Built like a tank and it's display is really smooth, doesn't flicker or jump about. The TC tuner is great too though I don't own one.

It looks like the H2n does have a fader to mix the levels between front and rear mics too though.

I think in this case, as it is designed to pick up an ambient mix, omnidirectional spillage is actually a good thing. Well it's what I envisage anyway.

[quote name='nomis' timestamp='1488211154' post='3246823'] Maybe I have entirely mis-interpreted what you have said here but can you engage and disengage the drive section of the B7K whilst leaving the EQ running via the single foot switch? [/quote] [quote name='Jack' timestamp='1488211802' post='3246830'] No, but you can on the B7K Ultra. [/quote] What Jack says

Here's a new link that will take you directly to the current magazine issue and the back issues too. I will however add each issue content in to the first post when I have time. Due to changes online, some of the earlier links no longer work, but use this one instead and that will hoepfully take you to each magainze front page: https://www.guitarinteractivemagazine.com/issues/

Wow, what a great idea Painy! - I'll be coming back to read all of these posts in detail and post my own too. Awesome! Geekathon!

[quote name='mcnach' timestamp='1488163747' post='3246439'] please report back, it'll be interesting to hear how it works for you [/quote] I ran the H1 last night feeding the output direct to my 64 Audio A8's. I have to say it was a very successful experiment, but I found that Mic placement for this stereo field recorder was important. Pointed away from my bass gear but next to me seemed to work well as I had a really good pick up of the acoustic drums. I think one of the reasons that the A8's made a good match is that they have a special module in them (ADEL now APEX technology) that does allow then to also work a but like normal ear plugs as a 'side effect'. I've chosen a module with -18db attenuation specifically for the onstage volume I am most likely to encounter. The H1's 'ambient' output therefore added clarity and dimension to what ended up in my lug holes. A very interesting experiment as I didn't really rely on the H1 for say low end as I could feel it as usual, but I blended in just enough from the H1 so that I could hear top end clearly. I appreciate this whole plan is a bit slap dash and pales in comparison to a full ambient system, but for an 'active personal ambient system' on a shoe string budget, this has been pretty amazing. I am definitely going to try with the 'surround sound' H2n so I can pick up audio from in front and behind the device, straight to my A8's. Given the results, it's very likely I will do a video explaining everything in more detail. Kit to test: Zoom Q4 Zoom Q8 Zoom H2n The thing I like about the Q8, is that not only does it have stereo microphones on that I can set up in the manner explained above, but it also has a pair of 1/4"/XLR inputs too, so I can feed another two channels of audio in to it - such as a click track or a stereo send from a mixing desk etc. I doesn't do 'rear microphones' though so there's a trade off. I'll do some pictures and probably a proper thread in time. In short though, of course the Zoom's weren't designed to be ambient monitors, but I can't think of any other gadget on the market that comes close as these do to what I would ideally like to achieve (without going for something like ACS Live!). Updates soon!

[quote name='ped' timestamp='1488135337' post='3246204'] Check ur PMs [/quote] Oh! will do fella!

So who bought the Ash and Maple fan-fret Jazz from Bass Direct recently? That I have to say was a very nice bass indeed.

[quote name='elephantgrey' timestamp='1488117936' post='3245957'] Well I use my ms60b basically exclusively for always on time effects (equipment, preamp, noise gate, amp/cab SIM) as part of a board. The only need I'd have for the b3n would be modulation/looper, and I use midi to sync up all my time based effects. If it had midi, I'd probably get one for both my boards. [/quote] I'm using an external box that allows patch selection via MIDI. I didn't need any other options, but being able to tap 1 button to go straight to a patch is pretty important. There's a good chance I'd be able to use the same controller for the B3n too.