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Passinwind

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  1. Nice to see what she's up to these days. I saw her sit in with some friends quite a few years ago a few times in a local hotel bar, just before she moved to New York. Her parents were very cool and had their heads screwed on straight, but it seems that she still had to pay her dues and find her own way anyhow.
  2. Not if their ears are all used up by the time the headliner comes on. Which is one of many reasons that I've always preferred single band shows in clubs.
  3. Yep. When we were spec'ing out my new fretless late last year my luthier friend had several potential conversion necks already made up with fret slots and "fretted" side dot markers that he tried to give me, and he acted like my request for unlined and only minimal side dots where usable notes are was unusual. I didn't want to be too hard line since it was partially a gift, but I had to put my foot down on that one.
  4. All four that I own leave the house regularly. I'm not currently gigging, but each band or act typically had a preference for one or another. When I go to my weekly jam or an open mic I often try to figure out which one has been sitting at home the longest, or in the very rare case that I have something new I'll concnetrate on that one for at least several months. I also frequently have a bass around that I'm working on for my luthier friend, doing custom preamp installs, and I always try to take those out in public at least once before I bring them back to his shop. I almost never bring more than one bass along, just every once in a while if I'm doing my originals duo thing with just a drummer and myself. In that case I usually bring a guitar too.
  5. Up to 4 now, the most ever in 47+ years of playing. 2 fretless fours, one fretted five, and an EUB. I really only have the time to keep up on two regularly, but two BGs and one upright would be my ideal if I could make room for an acoustic upright. I despise selling stuff so I'll probably just stick with things as they are in any case.
  6. It's a real mess, even if you deal with a sympathetic and competent agent as I did. In my case the bass was old enough to be exempt from the Appendix II regulations, but I still needed two different permits from completely different entities to document that exempt status, which took a couple of months to come through in one case. And the bass still got impounded in Europe, since the guy on the other end hadn't realized he needed his own importer's permit. Fortunately he was able to procure that permit very quickly, but that seems to vary wildly country by country.
  7. At least in the case of the US Fish and Wildlife senior inspector I met and dealt with when exporting an old bass, he was extremely well versed in identifying wood, and fully capable of taking a core sample and using an electron microscope and other relevant tools. But at the same time, he was very friendly and respectful and the last thing he wanted to do was molest my 40 year old bass. I brought along extensive documentation and he went online to verify it on the spot, FWIW. The process was very onerous and I wouldn't wish it on anyone. I was lucky enough for it to only take a 13 hour day to drive to the nearest of the dozen or so specialist inspection stations in the US, get it shipped out from the same city (which was highly recommended), and drive back home.
  8. Brazilian rosewood apparently will still not be exempt, as it is explicitly listed in Appendix I and the new legislation applies to Appendix II species.
  9. I got a minute into the 2 1/2 minute commercial at the front end. Nope, that's a fail. And I do believe that consuming music via videos rather than in audio format is the Debbil's Work. But beyond that, what's on the charts stopped mattering when I hit puberty and gained the ability to buy whatever music I wanted to listen to. From my perspective, I still have acccess to all the old stuff (if it was recorded it's modern in my book) plus whatever new things I happen to find today or tomorrow or next week. I just don't see how that can be construed as being worse.
  10. Hate is a bit too strong a word in my case, but I haven't played a single gig yet this year and that doesn't bother me in the least. I did two last year, both sub gigs I got calls for on the day of the show. I've always preferred working on the technical/production side as far as live music, but I stopped doing that several years ago and don't really miss that either. Any and all of that could change tomorrow, or not. But the important thing is that I'm enjoying playing bass more these days than ever before, either by myself or in a few different regular jams I'm involved in.
  11. My buddy Marco Cortes at Marco Bass Guitars has done lots of laser cut scratch plates, control plates, and truss rod covers, including some clear ones. You do need to pay extra attention to the materials you use, but your idea should be totally do-able.
  12. Here's some back story: https://www.talkbass.com/threads/a-diy-1-2-rack-bass-preamp.1135423/#post-16982343 And the earlier 500 watt one, which uses the same preamp boards: https://www.talkbass.com/threads/a-diy-500-watt-bass-head.1061473/#post-15624273 There are quite a few sound clips floating around on Facebook from NAMM in 2017 and 2018, when two different versions were in a luthier friend's booth. But I'm no longer on FB, so I suppose I should post them on my website or somewhere. But since I'm not selling them, it seems easier to just be a slacker!
  13. Home practice rig: DIY 15/6/1 cab, DIY 600 watt head.
  14. Local? Dozens, at least. Many know me from my years mixing club sound, others usually from seeing me in fairly high profile local winery or festival gigs on bass, and then a whole lot more from when I was running open mics. I had a German guy I'd never seen before come up to me one time on the sidewalk in my home town and start singing one of my old original tunes. I've also had quite a few strangers at NAMM recognize my face and/or my name, mostly folks who hang on Talkbass, but the last time around also from Facebook users.
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