Boodang

Thanks for the feedback. I'm sort of drawn to the Seamoon purely because it's so different, which has to be fun right? Also, it has a great paint job which will look good on the pedal board! Not so easily available tho but that's also part of the draw.

Fantastic band, shame they only wrote one song tho.

Draw the line at anything for scammers! A bit of information here, another piece of info there, it all adds up. Don't even give them a toe in the door.

I've enjoyed doing some Scott's course but at the moment the Gwizdala stuff seems more my thing.

It's death by a thousand cuts. A genuine company won't try and hack your phone these guys might.... do you keep online banking details on your phone?

Watching demos of the new Solid Gold Supa Funk means I have to scratch the itch that is a new filter pedal. Lots of talk about the supa funk but not so much about the funk machine.... does anyone have experience of the Seamoon pedal? I'm going to buy one of them but not sure which. It's going to be used in a band where we do retro 70s stuff, think Starsky & Hutch theme tune meets Herbie Hancock, along with more contemporary but old school influenced groove. I'm not after replicating any particular sound, it just has to be funky.

Looks like a scam. On the last point, worse things than a subscription to Scott's Bass Lessons!

Is it worth getting a professional to install a new nut and do a setup? Might make all the difference. High end Ibanez SR's are very nice tho!

If the neck is sublime and it's comfortable to play, I would say you've found a keeper. I'm a big believer in tweaking basses to get them where you want for your needs. Sounds like time to have a Graph Tec nut installed (I get them put on all my basses) and at the same time getting a setup done. If you don't like the eq then change it out. Many options, my current favs being East and Audere. Might sound like a lot but if you end up with a bass that plays well and sounds well then you're onto a winner.

Rehearse, rehearse, rehearse!! Why is it so difficult to find a band that works for you (rhetorical!)? Well, just because someone else is a musician doesn't mean you're automatically going to get on with them and in the case of a band you need to find 3, 4, 5 or more to get on with.... and not just get on with as musicians with similiar musical tastes but also as people with all their annoying habits. And as they say; hell is other people!

Also, don't forget the the EHX Synth 9 which has OBX, Prophet and Moog presets... and it's polyphonic.

Also with the mono synth pedal, it has a separate dry only output as well as an output for the dry/synth mix which I've found to be v useful.

... no problems with tracking, only gets glitchy if you try to do chords, but you don't have to be too clean with your playing as copes quite well if you get a bit sloppy.

I'll do a clip when I'm back home... I'm away on a residential course at the moment. There are some great clips on YouTube as well. At this price tho the pedal is almost a must have, no brainer, purchase.

The laser preset is also good but to make the most of it, and other presets, you need an expression pedal but it really does add hugely to their usefulness. So much so I couldn't be without one now. For added low end synth goodness I sometimes add in parallel an octaver set to 100% octave down.

My fav setting at the moment for Gary Numan style sounds is the Acid preset; Dry @ 3 o'clock Synth @ 3 Sens @ 12 Ctrl @ 10 The ctrl setting is less critical on this preset.

I've been using the EHX mono bass synth pedal since it came out and it's awesome.... and it's only £110. Definitely get the 80s bass synth sounds you want and has an expression pedal input. It's not a fully tweekable synth like the C4 but it really nails the sounds it has and there is an option to save settings. In a recent review of synth pedals on the Andertons YouTube channel they commented 'every bass player should have this pedal' and I agree. Some very phat sounds coming out of this.

Have you fired the drummer yet?! Maybe bring a cardboard cutout of the drummer and a drum machine to the next gig just in case.

Well, 2 days in but I've been playing the Galli strings practically all of both days; I've been on an online death by power point course so have been sitting and playing while listening. As far as the stability of the strings are concerned... Day 1, lots of half tone tune ups. Day 2, after tuning up from leaving it over night, it's got progressively better throughout the day but still needs regular small tweeks, more on the G & D tho. I've been playing a lot with the pick and so far no sign of injury to the strings but it's only day 2... although they have had about 12 hrs playing time. Early days but love the strings, they feel so buttery and the tone is good, rolled off highs are how I like them, very little if any eq needed, sustain is not the greatest but not so that it's an issue.

Oh, and out of interest, first time I've seen this on a string packet.

So, two days in; day one, constant half tone tuning: day two, half tone tune up after being left over night, then it's been progressively smaller tune ups throughout the day until it's relatively stable but still not 100%. Reckon maybe another day of playing to fully settle in but I'll keep posting. Have been on a Teams online course for the last 2 days which has mostly been death by power point, so have been sitting playing my Jazz with the Galli strings thru most of it.

Currently trying out the Galli Synthesis strings. Just put the chrome flats on my jazz, there are the most 'buttery' strings I've every tried. Haven't tried the rounds yet but will be soon. Synthetic core so takes a while to settle in and stay in tune. We're running a thread on that under 'fretless strings' in accessories.

Like sliding on fretless, vibrato should ideally be used stylistically rather than to cover up intonation issues as it can become tiresome quite quickly if used all the time. I say ideally as it's inevitable that at certain times you'll use these techniques to get through a passage especially during live playing. There are times though where I think that a slide or vibrato is definitely not what the song needs and I've cocked up the intonation but under those circumstances I'll just brazen it out. As a player you can be overly critical but I think a fretless where the intonation is not spot on can sound ok and more organic (if that's the right phrase) where a slightly out of tune fretted doesn't.

Persevere! I went through a phase recently of improving my intonation. As part of my practice routine, put my clip on strobe tuner on the headstock to check my intonation during warm up exercises, but not using it the rest of the time so I didn't become reliant on it. Obviously you have to use your ears but I found using the clip on helped to fine tune my left hand finger technique. BTW... are you using lined or unlined fingerboard?

I would say they should be long enough to reach the speakers!