TrevorR

£48+£1.50 p+p from GAK... https://www.gak.co.uk/en/mooer-audio-bass-sweeper-dynamic-envelope-filter/79396?gclid=Cj0KCQiAieTUBRCaARIsAHeLDCSQx7ba54mxOHMxf2_YX2C-H35GHYE82hDZvUlMkvwpiC25vk1DSOMaAoK2EALw_wcB £49 post free at Rattle & Drum http://www.rattleanddrum.com/mooer-mbef1-bass-envelope-filter-pedal-sweeper.html?gclid=Cj0KCQiAieTUBRCaARIsAHeLDCTp3HY-jpsRcT_0uJ2UwVFLaLx8DBhwWtlGcpCjfjjH4qD2wJAwRUgaAhH9EALw_wcB

I really like my Bass Soul Food. I'm not a big distortion fan and really wanted it for a low level of OD break up - in particularly to add a wee bit of square wave tonality into my Wah pedal for slightly synthy tones. Having listened to a wide range of demos I came down to the BSF as the practical and affordable option. Most complaints I've seen online about it are that it doesn't have enough gain and enough dirt and enough fuzz... Of course for me, that was it's big bonus point. The settings I've settled on are Vol: 12 o'clock, Drive: 1-2 o'clock, Blend: 1-2 o'clock and Treble 12 o'clock. That gives me a not much more than unity gain setting when on. Works very nicely for what I want it for - to be honest I only very rarely use it as an actual OD pedal. I'm pretty sure that a lot of OD/distortion fans would look at me and say "When are you ACTUALLY going to switch the pedal on?" Which is fine as far as I'm concerned. And considering that judging from the specs and demos, my other option for the sound I was looking for would have been trying to find an original Bearfoot BlueBerry Bass Overdrive second hand of from the States at a couple of hundred quid plus import duties... my sub-£100 BSF will do me just nicely! The one thing I REALLY don't understand about the BSF is why they bothered to put a -10db switch on it. It's such a low gain structured pedal I can't really imagine a set of circumstances where, even with level and drive maxed out you'd end up with an unacceptably hot output (that wasn't trimmable by the Vol knob, which - after all - is what it's there for!).

Always enjoyed Kirsty Newton playing with Mitch Benn and the Dirstactions http://www.kirstynewton.com/ And Miranda Sykes slaps a mean doghouse bass with Show Of Hands... http://www.mirandasykes.com/

Used to bump into a bassist called Eilis Phillips on the singer-songwriter circuit round London. She’s as good a bass player as she is tiny... and she’s really rather short! Lol! Then there’s Jo Wadeson who’s played with Thea Gilmore and The Waterboys. Top player. Carrie Melbourne who plays bass and Chapman Stick. Wonder what she’s doing these days. Wonder if Clare Kenny’s doing much playing these days? Always liked her back in the late 80s/early 90s. Has a lovely Aria red back then. Also, if you’re looking for young female players for a bona fide touring band, contact one of the colleges like ACM, BIMM or whatever to see if they have senior students looking for live touring experience.

Oh yeah, Status Quo And Maddy Prior From Steeleye Span... And possibly the ultimate Christmas single... Trying to work out what bass Madame Cholet is playing. Looks nice, though.

There ya go...

This came on the radio once and my wife said, “Is that the song with Cliff Richard and Van... Van... erm Van... ...Halen?” I nearly had a hernia from laughing!!!!

Presumably that's him tinkling on Fluff... ...oh, there's an image I'll never get out of my head...

NOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!!!!!!!!!!!!!!!!!!!!!

Indeed. And I was shocked to find out that John Peel didn’t actually play mandolin in Maggie May...

Still counts in my book - and yes, I was entirely aware of the nature of Norman’s “contribution” and then lengths Trevor Horn went to to get a “bass part” he was happy with on Relax... still the sound of Norman plucking a string, even if triggered from a Fairlight. Perhaps I should have placed “on” in inverted commas...

Remembered some more... Huey Lewis playing harmonica for Thin Lizzy Colosseum II/Barbara Thompson’s Paraphernalia (including Gary Moore and Don Airey) with Andrew and Julian Lloyd Webber - the Variations album, better known as The Theme from The South Bank Show For that matter the cast on the original studio version of Jesus Christ Superstar including Murray Head, Mike D’Abo, John Gustafson and IAN GILLAN as Jesus!!!!!! And speaking of Eminen there is him sampling the bass playing of Dave Peacock of Chas and Dave fame!

And the piano onCat Stevens’ Morning Has Broken

The ones that spring to mind are... Steve Howe and Norman Watt Roy on FGtH’s Welcome to the Pleasure Dome Aimee Mann and Rush on Time Stand Still The Propellerheads and Shirley Bassey Half of Thin Lizzy and half the Sex Pistols as The Greedies Jon Anderson and Jean Luc Ponty Jean Michel Jarre and Hank Marvin on the Revolutions album Yes and The Buggles

Best bass hang out ever, bassically (see what I did there). A chance to do all the things you mention... ogle and try out gear you’d never find in one place anywhere else, jam if you want to (I’ve never actually got round to that), meet other BCers in the real world, chat, listen to interesting and varied seminars if you want to... I first went three years ago, ostensibly because Silverfoxnik asked me to do a talk on Wal basses. It’s been a fixture in my diary ever since. Great bass day out. The second year I went Herbie Flowers was chatting - I wasn’t to miss that! John from Squeeze was fascinating. Last year was Davey Rimmer from Uriah Heap. I’ve no interest in the band but it was fascinating to hear his thoughts on playing and stepping into big shoes like John Wetton’s and Trevor Bolder’s. Steve Lawson was random, philosophical and amazing too. For a flavour you could do much worse than checking out Bluejay’s excellent photo blogs on the Bashes... https://silviabluejay.blog/2015/10/05/basschat-south-east-bash-2015/ https://silviabluejay.blog/2016/10/05/basschat-se-bash-2016/ https://silviabluejay.blog/2017/12/08/basschat-se-bash-2017/ Basically, get it in your diary and I doubt you'll regret it.

The number of people I know who regularly forget straps, plectrums, leads and, in one memorable gig, their drum pedal... ...nope, I can’t see a single flaw in the removable tuning key alternative.

When trying out a bass in a shop I always find “The Theme From Star Trek Deep Space Nine” falling under my fingertips. Only ever been called out on it once... lovely tune, though.

It does raise some interesting questions tho...

Saw this quoted on another site as a baseline you’d probably lose consciousness from boredom if asked to play. I was looking at the post thinking. Hang on, that bass line is nigh on perfect, the whole heart of the song and for all it’s simplicity one of my faves. In fact, it’s one I’ve quoted to over busy players saying “this is what groove is about. So simple but the way it’s played and works with the drums breathes life into what would otherwise be a pretty dull ballad”. Love this song!

I suspect that you're mischaracterising what's happening here. I've played with loads of guitarists who would find THE guitar only to trade it in a few months later for the new THE guitar. And they were ALL, every single one of the, THE guitar. On the other hand I've played with people who have found one or two or three guitars over their playing lifetime and that's it. In both of the above cases the cost of the guitar was irrelevant. For the guitar flippers, it was the belief that each new guitar would bring guitar nirvana, the post purchase realisation that they all had flaws (real or merely perceived) and a belief that the grass would really be greener the other side of the music shop. The internet and forums like this only makes this worse through ease and availability - and group think. The OP seems to single out the boutique basses for this phenomenon. I've not done a statistical study of this but I'd bet that there are as many Sires and Squiers being flipped as Foderas and F Basses - although maybe not. However, more on the grounds that having a couple of £200 resale value basses kicking around unloved "in case" isn't as economically painful. And to fund the new Ken Smith the Alembic has to go, which replaced the Dingwall that was funded by selling the Fodera which... It would also be interesting to compare a list of those who flip the most expensive basses with those who flip the most mid/lower range basses. I wonder how many names would be common to both and how the number of basses flipped per year would compare... Maybe it's more about being addicted to the new bass buzz? Rather than finding the bass that really suits you and sticking with it - how many "Oh why did I ever sell that XXXXXXXXX. I now realise that my new YYYYYYY isn't have the bass it was..." threads do we see? And how often are they followed by "I've seen these ZZZZZZZZZ basses online, what do you all think?" threads... Anyway, there are a minority of us who provide the Ying to that Yang - me included. I've got a number of relatively expensive, hand built guitars and basses, at least three, possibly four or five, of which count as "boutique" - only a few of which were bought full price, mind you, or back when you could get a good night out, a fish supper and change from a three bob note. My Aria SB700 was my first ever bass back in 1982 - still play it. My Mk 1 Wal was bought in 1992 and it's still my No 1 bass. My Tony Revell custom acoustic bass was bought in 1992. My Brook acoustic was bought in 1999 and still gets played regularly. My Pro Series Wal was bought in 2002 and is more than my No 2 bass, more like my No 1.5. I won my Fylde Gordon Giltrap Signature acoustic (I know, what a lucky so and so) in 2005 and I still love it. I've only ever sold three instruments in 35 years playing (a Squier Jazzerstein project bass, a Yamaha starter electric, and a mid range Washburn acoustic to fund my Brook). I can confidently say that the boutique instruments I've got now aren't going anywhere!!!

Given the choice I’d have these on everything... But Wal don’t sell them separately. Erm, hang on a mo... Nope, my first comment still stands.

Aaah, so you pronounce it “scoon” as in The Stone Of Scone”. Or should that be “The Stoon Of Scone”.

... !

...triplicate post...

There is a simple answer to this question. They are not bass players so a Wooten style thwackety-splackety bass exploration means nothing to them. They want to hear a tune. Preferably a recognisable tune. Even more preferably a tune they know and like. Hence the appreciation for the standard rock cover tunes listed. This is exactly the same reason cover bands play Mustang Sally, Wonderwall and Brown Eyed Girl. Because people like and enjoy listening to them!