Dood

For drop tuning on a Dingwall, I've been very lucky as my fellow D'addario friend Nolly has sent me some of the strings he uses.

[quote name='D'AddarioUK' timestamp='1489050425' post='3253922'] Dood has some experience with using our strings on Dingwalls. Our superlong strings are wound to 38" from the ball end, unfortunately this isn't quite enough for a 37" scale low B on a Dingwall when you take the distance behind the string saddle into account. As therealting suggests you should always measure from the location of the ball end to the far side of the nut to avoid heartache! [/quote] I do indeed and yes, for the Dingwall models with a 37" scale length, (lowest string) the D'Addario 38" Super-Long string is a smidge too short to make it through the nut, seated [i]correctly[/i]. Another centimetre would be spot on for string fitment. I haven't checked the E string on Dingwalls, but at 36.25" scale length, I suspect that the Super-Long gauge will meet the nut correctly. Maybe that's something we should test? I am happy to do any leg work if need be.

[quote name='FinnDave' timestamp='1489163882' post='3254897'] The home contents insurer declined to insure it all because as I play gigs for money,[b] it is considered professional equipment rather than just hobby gear[/b]. At least after tomorrow's gig I will have earned enough this year so far to pay for the insurance! [/quote] Yes, definitely worth checking out on home policies! The small print is often [i]very[/i] small so easily missed too.

[quote name='neilp' timestamp='1489072558' post='3254179'] MU membership gets you £3K of insurance for nothing as well as PL and I think PI. [/quote] And the insurance covers you anywhere in the world, unlike other policies. Buying in to more than £3k cover is a doddle and the sky is the limit. Not only that, being an MU member you get decent advice and support that covers everything from teaching to contracts with venues and legal matters.

Brilliant suggestions! Really appreciate the help. I'll check them all out. Those Pelicases and CaseFarm linked products look pretty nice!

A new band job means that I am taking random gear items to rehearsals and of course gigs. I am joining the masses of travelling light and have found that with my bass, cab and a suitable case I can almost carry all my kit in one journey from the motor. Last night I used a suitcase (I think it's the maximum sized for carry-on aircraft luggage) and managed to get everything I need in, just. Thing is though, it's not built for bass gear. I'll probably tear it to shreds. So I am looking for a similar size case, if not a bit bigger, that I can get all this kit in that is designed for us musos. Actually like that this case has wheels and a pull handle too, that would be a bonus. Suggestions please and thank you

You mean like Remote Session recording? Yeah, I've done it for quite a while now. Just finished recording an album with more band members than I've ever recorded with to date (an Orchestra and a Choir as well as a full band!) Will be released soon. I've worked with some really amazing musicians across the world. Lots of fun but can be hard work. Drop me a line. Dan

[quote name='Acebassmusic' timestamp='1488886287' post='3252599'] Contact Jon Shuker he runs courses. [url="http://www.shukerguitars.co.uk"]www.shukerguitars.co.uk[/url] [/quote] Highly recommended! I think it's a huge endorsement when a highly respected producer and purveyor of guitar tone production comes to you to build his own guitar. The results were beeee-ooo-ti-ful! Andy Sneap plays his hand made guitar on tour too I understand! (if you just responded with 'who?' take yourself outside for a talking to!!)

I used to use compression as an effect as well as a dynamics controller and thus needed that level of adjustment. At the time I had a daft effects rack and the only thing on the market that could do what I want was the TC Electronic Triple-C, a 19" rack mountable & programmable multiband compressor. It was and probably still is brilliant, but, not in a pedal. For my multi-effects needs and a very simplified set up verses 'those days' I use a TC Electronic G-System. The processor on board could be considered a little long in the tooth by today's DSP standards, but the ability to manipulate endless parameters across a wide range of effect types in glorious 24bit audio makes it a choice I go back to. (You can insert external pedals as part of 4 loops too). The Zoom B3n as I understand it features a new generation DSP processor and despite it's looks will be very capable at the price point. I'll definitely be reviewing one when I can get my paws on it and then I'll gig it like mad.

Now I'm back from the Bass show, I'll see if I can make time to do a quick video. When I spoke to Morten from TC, I ask him how low it goes. He said, "all the way..." So far, he's not wrong lol! I'll give it a good thrashing, but right now, with this bass, I've not encountered a pedal that tracks as low and when it finally does give in, transitions smoothly in to a single note rather than wobble like mad. As I say though, that's an initial test, needs more pounding

[quote name='Sibob' timestamp='1488555564' post='3250014'] I'll be there Sunday! Possibly with a baby haha Si [/quote] Naawwwww super cute! My lil bub is a bit too small this time, so you'll have to bear with me as I scroll through a photo roll of his first month Flown by!

[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.