Woodwind

This Evening I orderd, what I imagine are, exactly the same plugs @stewblack got from ebay, then a couple of hours later I discovered a load of extra power cables tucked away in a box on a high shelf and I wished I'd just cut all my cables in half and rejoined them 90° to 90° just like your cables. Ah well. more cheap ebay plastic in the world.

Space my friend, space. I need 90 degree terminations on both ends of the cable to get pedals to sit where I need them 😎

Well worth a look. Multitracked for the album, but creates everything solo live: https://ottolindholm.bandcamp.com/album/alter

I was thinking of cannibalising cables I already own, but they are all integrated moulded plastic so a) the end result will look awful and b) the worry of hooking one up with the polarity the wrong way makes me think I'll start from scratch. I'll investigate ebay now, cheers Stew

Has anyone on here made their own power cables for their effects pedals? Hooking my board to an isolated PSU and I'd love right angle connectors at both ends and be able to shorten the cable run from each pedal. Anyone done something similar? If so where did you purchase the cable and connectors?

I'm no longer in musical contexts where gear sharing is common, but On a couple of occasions where I've been traveling long distance to perform I have had to borrow equipment (usually a drum) from one of the other acts. I liase with the relevant band member long in advance and offer a cash deposit up front. This comes from years playing in rock band settings where gear sharing happened regularly (usually me lending) and it was always rubbish - Crap attitudes, entitlement, disregard for the borrowed equipment. I treat those I borrow from as I would like to be treated.

Most of my bass playing has been on stingray or stingray type basses. I like the sound and look etc. But £3k is absolutely bonkers for a factory instrument. for that money You could get a second hand model, add a status neck, ultra light tuners, maybe try a different pre or pickup and still have most of £1k left. I know which one I'd rather be performing with.

Absolutely. I found the whole alarm will sound Aphex album unlistenable. Again an exercise in transcription without an understanding of what makes the original so successful. Devoid of all soul and counterintuitively lacking a human element. Listening to this again now and it makes me feel a bit ill.

I can't take anything away from the ambition and skill. It's a great piece of work, but it comes across as more a technical exercise. Something is missing. Perhaps this is because so much of the incredible texture generated by the required huge and varied orchestra is lost when using just one type of instrument? I had similar reservations about the Music For 18 Musicians release by Erik Hall last year. I'm not a great fan of the Reich piece, but ones whole enjoyment relies on the tension and human quality inherent in having it played in real time and again the fantastic timbral textures involved. Reducing it to multitrack takes of the electric instruments you happen to own defeats the purpose and it becomes another technical exercise. Again I don't have the skill or ambition to accomplish either of these solo recordings, so hats off to Joe and Erik.

I'll be in the workshop tomorrow, so I'll take a picture of the one on my bench 👌😃

Sorry for the complete thread derail, I have made several custom order titanium chip forks for customers over the last couple of years.

For home use it's of absolutely no concern - you'll be too loud to get anywhere near damaging the cab. At Gigs However, it will be entirely possible to blow the cab. I have blown several hartke 15" cabs when I was in a heavy band (two transpirter 15's and an early edition vx15) . However - these were cabs being used on their own and worked very hard. I stuck with these cheaper hartke cabs as I loved the sound and they were light (for their day) so very easy to get to and from gigs. I imagine you'll be very happy using just the 410. These double cab stacks are a great ego boost, but for the majority of gigs seldom necessary. If I were you I'd buy the hartke rig, regard the 15" as effectively disposable and enjoy the 410

Rainger FX https://www.raingerfx.com/ I've been using their deep space pulsar for getting on for 4 years and they make some other really interesting pedals.

I've only ever played in originals bands and when I was a bassist only ever had one bass at a time (ironically I have more basses now that my main instrument isn't the bass, go figure). I had my sound which was a product of how I played on a particular bass and I needed my sound to do particular things within the context of what I was playing. @fil1p If I was in your situation, ie the context is variable (I presume you are playing covers?) then I could see you either want to have enough basses to nail the exact sound of each of the tunes you play or you have one bass you love that you accept the sonic compromises of in relation to how the original song sounded. I'd rather focus all my efforts on one main bass and get incredibly proficient on it. The WHAT of the sound being more important than the HOW of the sound

Another thread dredge, this time to answer my own question from last year and potentially help anyone in a similar situation. I just bought the latest version of thr Mantic Hulk and it's brilliant! The dedicated dry output is the real winner here along with the facility to have the effect feed killed when the pedal is off. The tracking is really good - I get some odd artefacts with low C and below, but that's to be expected really. I can't wait to get this into some subs at gigs!

Hopefully not derrailing this thread too much: I played on the bill with a band in the early/mid 2000's called Team B who would travel to all their london shows by public transport with their drumkit and gear in a supermarket shopping trolley. It was just pre and during the days of myspace and they had photos of various nightbus journeys home with their shopping trolley fully loaded surrounded by drunk passengers 🤣 Brilliant!

I never thought I would miss the schlepping kit to gigs by public transport as much as I do! I'll be looking to upgrade my trolley so will investigate all the suggestions here

@Trylle After I moved back to bass guitar after stopping playing the double bass I brought the four fingers to cover three semi-tones technique with me, having previously been a finger per fret player on bass guitar. My playing was more relaxed and consistent using the third and fourth finger together. Based on your hand photo it looks like there is a lot of tension and more of a bend in your wrist to compensate for the finger positioning. See if you can get comfortable using first finger, middle finger and then ring and pinky together on the third fret. You'll potentially be moving up/down the neck more often, but your hand will be much more relaxed in the process. All the best

The tippex is vital! I was doing a lot of shows where my stage lighting was a dark red wash which completely knocks back the contrast of things on stage so I needed a big bold line to see the position of the knobs. Fun Stickers would have been better, but it was applied in an emergency in a soundcheck and has remained ever since 😂 I'm not a bassist per se anymore although I play big bass frequencies as well as lots of high frequencies from a woodwind instrument in contemporary solo chamber music settings. I layer chords with the two freeze pedals and use the looper in a similar fashion

the irony. When I was early in my bass playing career I would beg sound engineers to mic my amplifier. I just knew that the sound of my marshall B65 combo being driven to an inch of its life to keep up with a drummer trying to compete with a guitarist with no perception of volume produced the most amazing tone (still 20 years later it's a tone I would have any day of the week). The di sound was lifeless in comparison.

Practicing for some shows planned later this year (fingers crossed they materialise) so thought I'd put my board up. Input from my instrument into: Mantic Hulk set for dry through - dedicated sub out goes to separate mixer channel. Loop station Freeze 1 Freeze 2 Pitchfork Obscura Delay Skysurfer reverb (set very low, just gives an extra bit of bloom on dry stages). Eventually I'll add an isolated power supply which will go between the Hulk and reverb pedal.

Thanks for posting this @Bart Funk Bass Beasties had a lot of good bass lines and great bass sounds. rip MCA

Great to see people getting bookings! It is intriguing what shows are being planned and what aren't. Absolutely no promoter I work with is planning anything.

Good to see your latest set up 😎 I wasn't aware of the Cioks range. That DC7 looks like an incredibly versatile power supply. I need to investigate further.

Yup I can completely relate to this. I've had to resort to wearing ear plugs when near traffic if I'll be near a main road for prolonged periods. All the best