Dood

Pleasant transaction sending my TC compressor off to a new home! No problem

Yup, I love mine! Here's my build diary from stock to 'John Deacon Tribute' 1986 period. http://basschat.co.uk/topic/87360-deacon-ification-fender-cij-non-export-70s-pbass/ You're gonna love it when it arrives!

[quote name='BottomE' timestamp='1346348623' post='1788191'] - certainly not from being nicked from the car or stage - now heres the killer bit - [b]unless supervised[/b] [/quote] I think there is an amount of reasonability here. No-one can sit and nanny gear - but if you put your gear in the car in view and then naff off for a couple of hours for a pint, then to be honest, I think you are asking for trouble anyway, unless you live in the quaint village of honestville! As for gear being left on stage - a stage manager, bar staff or venue security appointed to look after - 'keep an eye on gear' I understand is enough. This varies from insurer to insurer, but check before you take out a policy. Dropping your gear off in an empty venue and no one knowing the gear is likely to mean that your insurance won't cover either. - I was with Pavillion for a while and they stated that if gear was in a parked, secured vehicle with items out of sight and unrecognisable then they would cover in the case of a break in. This was lucky for me as I have an estate car with a pull over boot cover and some heavy blankets that could disguise the same of any guitar shaped bags. They were happy with this and therefore I was covered. If you have a van with blacked out windows and no markings to suggest it is a band wagon, then , again you are covered. Advertising 'Bob's Disco' down the side of the van is probably akin to just writing 'free lucky dip' on the doors. The insurance company probably won't pay out, I'd guess.

[quote name='pantherairsoft' timestamp='1346345114' post='1788129'] A bit of thread resurrection here... To those of you who are long time members can you answer the following? I'm particularly interested in the legal support side of stuff that the MU can offer, particularly where they say that they will check contracts etc for you. So If I were to receive and complete a recording/distribution contract etc, the MU would double check over the contract before I send it to ensure I haven't missed something and that someone isn't trying to shaft me - Thats my understanding. What I want to know is, that if the contract includes multiple people, for example a band which I am a part of, would the MU still offer this service to me if I was the only person named on the contract that was a member, or would every member of the band named on the contract need to be an MU member before they would help out? Cheers folks! Shep [/quote] I'm not sure Shep, but give 'em a bell - they really are a friendly bunch! I renewed the other day and had a great chat for waaaay longer than necessary to sort my subscription out!

Presumably you'd plugged in the output of one straight in to the other in a series chain? Just to mix it up a bit try this if you have a mixer or way of mixing two signals together. This will give you the distortion and fuzz in parallel with each other AND a clean signal throughout. It should, with a bit of tweaking sound pretty rich! Bass > M80 input M80 output > mixer channel input 1 M80 parallel output > input of fuzz Output of fuzz > mixer channel input 2 mixer output > bass amp. You can use a boss ls-2 pedal as a mixer too. Set both input levels flat as well as any EQ to start with. The blend on the m80 to 50% when using the drive channel. Have fun!

Yup, horses for courses! - There are times when I want to do ridiculous Jerry Donahue string bending, other times I want a rock solid string for fast pick work. It depends on what music I am playing.

Thank you and thank you to basschat for ruining my relationship with my bank manager who I think is probably on her last nervous breakdown GAS!!! Seriously, this forum is amazing and you all make it that way! Nice one!

Incredible bunch of very cool people! I second that!

Very pleased at the attention to the packing that Pete did for my new cabinet. Arrived safely and sounding amazing. A smooth deal to boot. Cheers Pete!

[quote name='Si600' timestamp='1345816295' post='1781946'] Dood, thank you very much for sharing that link. I'll watch the interview and the Dave Ellefson stuff as well. [/quote] Excellent! I hope you enjoy it! In the April (i think) edition I interviewed Doug Wimbish and had a cheeky lil jam with him!

Good on him. I can't be asked to go out to see cover bands around here these days! Sad I know, but I don't listen to the same 30 songs on my iPod, so why should I when I make the effort to go out lol! Come on cover bands! Sure, there are some songs that are crowd pleasers, but really.. Can ya not think of anything else to play? Ok, so I'm having a playful jibe, but i agree with the landlord

I have video reviewed the Rh750 in my bass section of iGuitar magazine. It's always free to read. Here's issue 6 with the RH in. Next week issue 12 goes live online. Direct link: http://licklibrary.ceros.com/iguitarmag/iguitarmag-issue-6-michael-angelo-batio/issue6/page/1

[quote name='fumps' timestamp='1345811512' post='1781841'] That is sheer gold !!! I was a massive fan of Anthrax when I was a young un.....my god the times I used to sit & watch the Oedivnikufecin !! I think actually he would be one of them guys i would be a little star struck with lol. You have now made me think about doing some of their bass lines now [/quote] Thank you! The interview is also on YT! I have to admit that I was a little excited too and it shows.. But not only that, this was one of my first interviews that i did live on stage - i left all my notes in the office and i was surrounded by media types who have been doing that kinda thing for years! That said, Frank offered me his beer and his single malt (i think) he was enjoying and was a totally friendly, approachable guy. Just like hangin out with a mate! Oh.. And I always expected both Dave and Frank to be taller lol! I am 6'3" though!

As for Fodera as an instrument, no I really don't think it's even twice as good as say, a Shuker for example. Jon's current crop of instruments are breath taking.

I think in terms of the review, it's nice to know what an Aston Martin feels like to drive but not everyone has an opportunity to do so. I therefore like magazines to do a bit of a 'Top Gear' every now and then, but for most - the gear reviews are better off being stuff within people budget. I *think* BGM get that, but i haven't read recently to substantiate that. I'm sure they do. Aston Martins are bloomin' lovely to drive. DB9 being a fave right now - but i wanna get my mits on a Vantage V8

+1 for the LS-2 I sat and watched quite a few before leaping on an eBay auction. Very pleased with it. Sure it might not be the rolls royce of pedals, but it gets the job done and has all the major settings us bass players are likely to require. I'd love to have an ls-2 selector close built in one of those tiny SFX enclosures, but for the money, the LS-2 secondhand was a no brainer for my wallet.

I interviewed Frank last year for Guitar Interactive Magazine (that I write the bass department for ) prior to a Hartke bass clinic featuring Dave Ellefson from Megadeth too. He's a top chap and we ( G.I Mag & Licklibrary) recorded this performance of Got The Time of Frank playing along to the track. You can see the bass solo in detail. It's actually fairly straight forward when you can see what is going on Copied this link via ipad, but it's on Licklibrary's youtube channel: http://www.youtube.com/watch?nomobile=1&v=j7LPw4yDA9M

[quote name='cheddatom' timestamp='1345728436' post='1780951'] I used to have to pay a cancellation fee [/quote] I make it very clear to my students from the onset that they agree to my T&Cs including fees for missed lessons. As for lesson content, i think that different people come for lessons for different reasons. Some do not want to learn theory and just have ambitions to play in a pub band one day. Others want qualifications and letters after their name. As a teacher it is important to make sure that you both know what you are offering in your lessons and what they should expect. But also what they want from lessons too, then there is no question should things go awry. Draw up a 'teaching agreement' a kind of written lesson structure whereby you make an agreement over what you will do for the student and what you expect back. Have you both sign this 'charter'. No, it's not legally binding, lol, but it does have an effect on students. So far I've not needed one, but my students have a written diary every visit so they know and are reminded what they should have done for homework, but at the same time know what's coming next. I.e a definite plan to keep them interested and have an opportunity to contribute.

Oh gosh, what have I started! Lol

[quote name='JakeBrownBass' timestamp='1345679887' post='1780549'] The session world is nothing like it used to be. IMO there is no such thing as being a session player anymore. Being called up to record in the studio nowadays is a thing of the past with modern music, if an engineer can use a keyboard & computer, they will because it saves time & money. The industry has changed a lot, so to get into to it you have to know the guys that are still doing it and they have to call you, but it wont pay the bills anymore. [/quote] Yes, this! I get asked to do 'remote recording' in my own studio and then send the stem files over. No studio costs, no engineer time. Hell, with the technology we have these days, many bands are doing an album in their front room!