Boodang

Once you get past the BS headlines of their PR, SBL is awesome. And it’s never too late to start.

‘It’s me that’s the issue’ raises a red flag regarding your teacher! You can be a musical genius but it doesn’t mean you can teach. Not saying he’s a bad teacher (well, mostly) but a pupil should never feel that way. Definitely chat over with your teacher how you’re feeling. As for theory, it’ll happen over time, don’t force it too much, but stick with it, small chunks. I’ve been playing for over 40 years and there’s always something new to learn, so theory is not something that you put a tick in the box, done that! Maybe try some other avenues for learning for some inspiration. I take online lessons with two teachers, mostly because they have an approach that I’m interested in. Plus I love digging into books that take my eye, like Gwizdala’s iconic lines (I’ve got dozens of books purely for the inspiration), and then there’s the online courses. In other words, mix it up and find what inspired you.

...also, I don't think I can go back to an analogue desk now. We've talked about this on another thread, but setting levels, eq'ing, compression, effects etc is so much easier and accurate with the graphical interface and it can all be saved for instant recall. I just can't go back.... I won't go back!!

Yep, the xr18 and xtouch comes to 1k, we're using laptops/tablets we already own, and you can add £230 for each powerplay unit. But compared to the cost of the instruments on stage it's actually not that much. But I believe the benefits are huge, especially as with a digital desk you've got all the plugins at your disposal, like pultec eqs and classic compressors. Each band member bought their own iem, but I bought the rest. The reason for this it that it doubles up as my home studio for which it's brilliant, and I think one of the big reasons to buy a setup like this.

Our band has gone xr18 and IEMs, and in the scheme of things we didn't think it was that expensive or complicated. Being a stage box it's easy for everyone to plug into the xr18, we're using cables not wireless to connect the iems but that means no setup issues and it's cheaper / more reliable. Individual monitor mix is a game changer as well. And set up is quicker, the only speakers are foh, and that means less gear to carry (iems are much lighter and take up way less space in the car). Also a huge benefit is the ability for the sound engineer to mix anywhere out front and no snake required. We have had to in invest in the hardware to do this including an xtouch and some of us are using the powerplay ultranet units, but selling off our old monitoring system and desk paid for a lot of it. I have to say though, the overall sound quality and mix is way better than using a combination of backline and PA and we wouldn't go back. Not only that but my back and my ears are thanking me.

The covers band I'm in decided to solve its monitoring problem by going with IEMs. To do this we use a Behringer XR18 as it has sufficient input/outputs.... oh, and we use an Ekit as it A. Keeps the stage volume down B. Makes the foh and monitoring mixes easier and C. Helps with our tinnitus. However, buying all the gear is not always easy when it comes to band politics and who coughs up. I guess it only really works when the whole band agree on what they need and how it gets paid for.

I have a spare bass I keep just for the purpose of swapping out strings for when I want to try something different, quite often various nylon tape. So as not to damage them during the on/off process I've installed a bridge so the ball end slots in and doesn't require the whole string to be pulled back through a hole. That way once the tension is released the string just lifts straight off. Given that the nylon strings are quite delicate I haven't had one break yet using this method.

Packing/unpacking/transport is such a big part of the gig experience that collectively our covers band is making a concertive effort to make it easier... and in the process improve our sound. To that end we've gone full IEM to avoid lugging monitors around, and an xr18 so everyone is in charge of their own monitor mix. So 2 FoH speakers is it and it's definitely streamlined the process. I play drums in this band so still have the most gear, the bass player turns up with just his Steinberg headless, but at least everyone chips in and helps packing up.

IF you decide to replace the pup, I can highly recommend this from Creamery pickups. Really does have bark and cuts through. https://www.creamery-pickups.co.uk/custom-handwound-pickups-from-the-creamery/scatterwound-bass-pickups.html

I have a CR4 which initially I bought just for a laugh but have ended up using it for so much. Once depped for a mate in a Hendrix tribute band and much to the consternation of the guitarist I used this! It ended well tho as it was quite the novelty but it's actually a very versatile sounding instrument.

.... but I will let you look at it!

Don’t quote me but I think they are the only synthetic core BG strings on the market. I can best describe the feel as flexible and ‘buttery’. And they are not too dull in their treble response. Be very careful when handling them, they are not delicate in the least when under tension but they are easy to damage straight out the packet.

The nearest strings to DB for the BG are Galli synthesis as they are flat wounds with a nylon, not metal, core. If you want to go down that route.

PS if you want to get it sorted, get a fretless and practice with that as it forces you to have good technique.

The 'physical-ness' of the bass guitar is one of its primary challenges. Make sure you're giving yourself the best chance with the correct technique (Dan Hawkins on youtube has some good tips). No one really has hands big enough to stretch on the first 5 frets, so it's just a case of getting comfortable with it. As said previously, use the DB style technique and not one finger per fret.... and don't get lazy with the pinky!

Who would take a £2k+ bass to a gig?…. Apparently you would!!! Or don’t DBs count as a bass?! And way more delicate the a bass guitar. But I jest of course! However, I agree with others… I can afford an expensive bass and I’m not going to be precious about it. My basses get used and abused and gigged, scratched up, beaten up and if they’re lucky I might polish it occasionally. I don’t buy them to just look good! Thinking of my last gig, our bass player borrowed my EUB and sei, I had my top of the range Yamaha ekit, xr18, foh speakers and cables, and even my synth… gigging is an expensive business, or at least it can be.

I play drums in a couple of bands. So, for jazz it's an acoustic kit but for everything else (covers, blues and a power rock thing!), I use an electronic kit (Yamaha DTX6K3-X).... and it's awesome! Pros & cons obviously but overall it's great. No sound on stage other than monitors is the biggest thing to get used to and yes, it does look like you're playing 'my first drum kit'! But.... I'm getting a consistent sound out of the PA, I've got a choice of kit samples to choose from to best suit the song/band/venue, and I'm not going deaf as I can control the volume far easier (which is also a great plus for small venues where you can go full smashy power mode and be as quite as a church mouse!). One of the things I found over the year and half I've been using the ekit is that you have to get into editing and eq'ing the kit to make the most of it live. I have various presets of each kit depending on the venue and PA I'm going through. So a full PA system with bins does not have a problem reproducing a standard Yamaha 'absolute' kit but for smaller systems I've eq'd the kit so the emphasis is more on the mid punch and click of the bass drum, less resonance on the toms, plus keeping the decay on cymbals a bit shorter I find helps clean up the things. Also, I use sample stacking a lot, so my BD is a 22" and 18" combined, and I've done similar for the toms. My HH has a setting on the half open where I've introduced a bit of tambourine so it cuts through more. Lots of thing you can do with an ekit that are obviously impossible with an acoustic. We put everything through a Behringer XR18 and IEMs, so much appreciating the lack of onstage volume. Takes a bit of getting used to but overall a plus for me.

I remember paying £1500 for my custom Sei back in the day. I think what I find most depressing is that Warwick are now charging for a bolt on what they used to for a neck through, and the NTs have gone through the roof. Still, the advent of quality mass produced cnc’d basses are most welcome and my fav bass is my Squier jazz.

Wal… the most overrated overpriced two pieces of wood to ever be bolted together. Not that I have a strong opinion about them or anything.

Drawmer 1973

£50 worth of wood and a cnc machine.. not sure it’s worth the price tag.

Ah, the Sei is so beautifully made I've hung it on the wall as a work of art!

I've got a headless Sei and found a quite a few normal strings that can't be clamped, including LaBella and D'addario nylon wrap, TI jazz and Galli Synthesis. Basically anything a bit delicate just unwraps under tension if you cut and clamp. So I'm restricted to DBE or strings with sturdy windings. What I'd like to do is get a headstock fitted to the Sei but everyone I've approached says it's not possible.

The string angles through the bridge are dire but doing it ‘properly’ means double ball end strings only and massively limiting your string choice (in theory you can clamp strings but not all strings like that, TIs in particular). Doing it properly in this case probably means a headstock!

This!