Woodwind

I will be later this year when my EP comes out. I've just paid my tax so 200 quid is too much to drop at the moment. The music I've had played on the BBC over the last couple of years has been to sporadic too have justified the cost of joining previously. Despite my negative comments about the very heavy handed approach the organisation has about enforcement of listening licenses with small business, it does offer very good funding opportunities for musicians at various stages of their career.

Exactly. Once a member As a writer You can do pretty well from PRS payments if your music makes it to mainstream radio and TV etc etc, but this is dependent on the show submitting your details to the PRS properly (and this doesn't always happen). It annoys me that the license my old boss had to buy went to pay the big stars when we didn't listen to any of that music

My intention was to join the PRS, PPl and MCPS this year ahead of my next EP release. That will cost me £200 (I think/hope those fees include VAT). I'll be putting on 2 live streamed shows this year (that's the plan anyway) which will cost a LOT more to do than a conventional venue gig and even though I'll be performing my own music I now have to buy a license to do so. A license for each event will cost £27 (or £54 if I manage to sell enough tickets to gain more than £251). They clearly use the term revenue. As my events will make a loss, I will be charged for the privilege. What I can't work out.... Answering my own question. edit>>> Quote from the article: "...A PRS spokesperson clarified that only members of the PRS and international societies represented by the royalty collection agency or performers playing the works of PRS members would be required to obtain a license...." I don't have much sympathy for them. They used to issue many threatening letters to a company I used to work for about our use of radio for the staff. The letters were so threatening the boss did buy a PRS license for a few years, until we clocked the site we were on had piped music, fully accessible by the public and they were never hassled by the PRS, so we didn't renew.

I still have price tickets on CDs and LPs I bought as a teenager in the 90's. Some albums were £16 which apparently works out to about 30quid today!!! I don't use streaming websites, but even some of the more esoteric LP albums I buy today barely touch £20. However I have been just looking at Glastonbury ticket prices from the 90's by way of comparison. it wasn't even £90 by 1999! what was it in 2019? £250?? So yes I agree completely, I bought an album and it was a commitment, but going to the biggest festival in the country didn't seem like such a huge chunk (especially as most of my friends who did go just jumped or went under the fence, but that's a different thread). The price of a Glastonbury ticket back then was less than half the money spent on recorded music (assuming average 1 album a month). Today someone pays a tenner a month for Spotify, listening to anything and can stream stuff not on Spotify by way of Youtube etc. There is no financial commitment invested in an individual piece of music. Their Glastonbury ticket costs double the amount they "spend" on recorded music. Sorry, bit of a stream of consciousness

I will check those out now! Thanks for the heads-up. Have you watched any?

I can see this thread has evolved from it's original theme. I don't know what sort of gigs I'll get back to playing. I can't see the sort of shows I was doing in 2018 and 2019 happening again for a very long time and I don't know if I'd be bothered with them. I have two shows planned for 2021, both streamed, which I'm happy to admit is a complete U-turn as I said I'd not do a streamed show again. These are going to be reasonably ambitious, will cost far more to do than a "normal" gig and it's uncertain whether they'll be ticketed (I still don't know how feasible ticketed online shows are) as they will exist to promote my next EP. I can see there will be a rush to put on shows in some capacity as soon as its allowed, but I can only see this will be a short window of opportunity and restrictions will be put in place again. I don't want the emotional investment of preparing for gigs that can then be cancelled

What a fantastic looking bass Andy. I hope the sound and playability are equally good. Interested in hearing your thoughts

Those are absolutely insane prices for what these basses are (I own one).

I similarly had an epiphany moment with the bongos and it revolved around the 6 string version. Also the stealth version. The tone Tom gets in that video is absolutely wonderful!!

Superb! I'm not really a Fender fan, but something about your bass really appeals. It just looks spot on, and yells players instrument. But yes, I can see it won't do what a 5er does 😎

I love this!!!! So it's had a new bridge, an active preamp fitted along with new pickups (and obviously the J routed in)? Also do I see a brass nut? It looks brilliant. Only thing I want to do is fabricate a subtle surround for the P, attached via the pickup mounting screws just to soften the look of the route. May I ask why you play your other basses more?

Apologies If this is deemed inappropriate and please delete (or ask me to delete) if so. I'm looking to borrow a meatbox type pedal (Hulk, density Hulk, beefbag etc etc) for less than an hour in London. I'd collect one morning at a socially distanced meet up, test and return to you same day. Can provide some sort of deposit or collateral. Basically I'd like to see if the pedal works in my effects setup and achieves the sound I'm after ahead of a recording project. Thanks for any help, Thomas

I'll eventually be moving to multitracking my demos on my phone so this thread has been very useful. Thank you!

Absolutely love the look of this!

It was a natural one like this I saw being played. Damn It's making me crave a natural one all over again!! Active two band plus passive tone sounds interesting if the tone can be applied simultaneously in active mode.

Two examples - nothing to do with me and caveat emptor etc Corvette- https://www.ebay.co.uk/itm/WARWICK-CORVETTE-BASS/254821164121?hash=item3b54866459:g:RooAAOSw5MFf06la Fortress- https://www.ebay.co.uk/itm/Warwick-Fortress-One-Bass-1993/254768636175?hash=item3b5164e10f:g:RD0AAOSwv7Zfoqr4 I really doubt the fortress will go for £800. They are less well known than corvettes and streamers, but arguably much better ergonomically. I still regret selling my fortress masterman. The corvette looks good, although the full caps description really puts me off I have to say. I wouldn't buy either without playing/inspecting them first, but that's just me. Neither of these bassess will sound like a double buck, but both WILL have a definitive warwick sound and being German made will be superbly put together.

I'll just say if you have 700quid to spend, definitely, definitely buy a "real" warwick second hand. You won't regret it and can sell it with no real loss if you don't get on with it. That rockbass double buck may well be a fine bass, but even buying new I wouldn't drop £700 on it, ( I'd spend less for a different brand). and if you don't like it I doubt you could sell it for £400

Wow that is super nice!! Looking forward to hearing the music you make with it 😎👌

may I slightly hijack this to ask how you both describe the sound of black nylon strings?

This is a great point! There are many pieces of music written where the primary way to engage with them is at a performance. This is compromised by whatever medium recordings of them are released on. Eric Saties Vexations with its 840 repetitions (or whatever) would have used at least 180 78records had it ever been released. Mind you he might have enjoyed the fact that a home listener was getting up to flip sides so often. On the other hand I'm sure Sleep would have written Dope Smoker/ Jerusalem as a much longer piece if they hadn't had the CD maximum length at the back of their minds

Bandcamp is my primary means to buy music, but I should have expanded on my original post. I like to use a computer or phone as little as possible and for as specific a task as is possible. I enjoy the fact that listening to music requires different physical acts to writing a letter or watching a film etc etc I engage with each activity in quite a profoundly different way (which will have an effect on the results - you'd never write the same sentences using a pen as you would typing - in this case one isn't better per se, just different ), whereas flipping a laptop open to send an email, stream some music or watch netflix boxsets utilises the same means of involvement and I really don't enjoy this. So if I can avoid a download I will. In short Bandcamp is phenomenal 😃👌

I'm not surprised that vinyl is seeing a continued resurgence. If I'm buying new music I'll ways look to buy it on vinyl first. This will generally be artists in a similar or related niche to the music I'm involved with. If I can't get it on record I'll go for CD and I also buy classical musoc on CD generally after checking out versions on youtube or similar. I don't like downloads or streaming both from a sound quality point of view or ethically (specifically spotify). If an artist I like only has their music on bandcamp download rather than physical product I have to think hard about whether I'll buy it : Once it goes into a harddrive library it tends to disappear - scrolling through itunes is the least engaging way of thinking about music I can imagine.

on a tangent what bass is that? Viscount? Vincent? Looks interesting

Isn't this too late? The deal has effectively been made We were all describing exactly this scenario two years ago.