wateroftyne

Damn, I adore this bass. Here it is in action at an acoustic gig last night. http://www.youtube.com/watch?v=sE7EdjhbGNU

For very small acoustic stuff, I use a [url="http://www.ibanez.com/images/contentEntries/2642/promethean/promethean.html"]MK1 Ibanez Promethean[/url]. It's extremely muscular for its size. For most acoustic stuff I use my [url="https://www.facebook.com/photo.php?fbid=10153030153921322&l=ea188dcdd5"]Mesa Walkabout into a TKS S112[/url]. That copes with most stuff, even (good) drummers. Sometimes for acoustic stuff (like tonight, as it happens), if the venue is large but the PA isn't totin' subs, I'll swap the S112 for a S212. That's not very often, though.

Nah - he's still upright.

Yeah... I might just do that....

I don't get too many gigs in dives these days, but I don't mind. It's all part of the adventure...

[quote name='bassace' timestamp='1437907991' post='2829831'] Oh dear, it would have been a great show without having to suffer the blessed Jools in between the historical archive items. And I'm aware that Dave Swift is a very nice bloke but can he please try to get a bit of sustain instead of the continuous thudding noise. You just can't distinguish any of the notes. He might as well be playing a small kick drum. Lisa's solo over the credits was good tho. Just Saying. [/quote] I think Dave's tone suits the big band thing perfectly. I can hear the notes just fine....

That's the documentary that uses clips from it. The full show is tomorrow night :-)

These techie explanations are great - they're really explaining what I've been hearing for a while now in the consumer bass end of the Class D market. If someone (Alex?) can come up with a lightweight with a power supply that isn't lightweight (if you know what I mean), colour me interested.

Hey gang Earlier in the week I was lucky to get a sneak peek of the film of the Jools Holland live show from Blackpool that's being shown at 9pm on BBC4 tomorrow (Sunday). It's fantastic - great music, incredible band, and the rhythm section are awesome throughout. Well worth a watch. [url="http://www.bbc.co.uk/programmes/p02xyybt"]Here's a clip.[/url]

Whoops.. link: https://qello.com/concert/R40-on-the-Road-Webisode-4-6432

Bump for this new vid.. Just.... insane.

[quote name='LewisK1975' timestamp='1437652687' post='2827858'] These sort of threads (whilst sometimes interesting to read for the occasional pearls of wisdom/knowledge) are farcical really. We all have things we like and things we don't like. What a dreadfully boring world it would be if we all liked/disliked the same thing. And for anyone wondering my rig is all lightweight, PUMA500 and 2 Barefaced supercompacts. I personally am very happy with my setup - someone else might think it sounds rubbish. That's fine, it's ME who has to be happy with MY setup. Opinions are like private parts, everyone has them but when you start waving them in people's faces people don't generally like it!! Rant over! [/quote] I disagree. You like what you have - that's fine. Some of us think they have - generally speaking - a common characteristic, so we're just having an interesting discussion about the merits of commonly available class-D bass amp technology.

It's the real deal.

Yeah. I'm pondering another, too.

No problem. If there's a catch, I've yet to find it... I've gigged it a lot since I got it, and when I pick it up it already feels like I'm 'coming home'. My poor '71 P is in a right huff. :-)

Just drop Adrian an email via [url="http://www.public-peace.de"]www.public-peace.de[/url].

I've recently joined a covers / wedding / function band recently. 50% of the set is probably stuff referred to in this thread, but.... most of it has passed me by until now, so I'm hearing it for the first time and I'm enjoying it for what it is. Mind you, it's canny weird that most of the bass parts on the newer songs are just four-on-the-floor roots stuff in the U2 style. It gets a bit confusing when you're trying to remember which song you're playing.

[quote name='Lw.' timestamp='1437400197' post='2825631'] As a side note but kind of related; actors (and writers) on TV programs get paid a royalty for uses after the initial broadcast of a program - there's a set of rules negotiated by their union (Equity in the UK) that apply to all featured actors (ie not including extras), for their version of a streaming service, say Netflix, the actors each get their pro-rata'd share of a percentage of gross revenue from that sale so they're not paid on a per-stream basis either (though I accept that some musicians royalty statements will show them getting a per stream rate, it's generally not worked out like that which is why the rate looks like it changes on a monthly basis). [/quote] That's a good point. A question to Dad3353: As I understand it, you don't think artists should benefit from repeated plays of their work. Do you think it's acceptable that the likes of Spotify etc. benefit from repeated plays of their work?

[quote name='Dad3353' timestamp='1437385594' post='2825418'] It matters little to me, it's firstly the principle of the thing. I don't believe in royalties and intellectual property as being revenue sources, that's all, either for one or for all. [/quote] Ah, that's where we fundamentally differ. I see recording music as an investment. if there's no way of recouping it, what's the point? Musicians aren't paid a decent hourly rate for recording, like they would be if they were fitting a kitchen..

[quote name='Dad3353' timestamp='1437384403' post='2825399'] Being honestly paid for one's labour is fine, right and proper. Being paid for lounging by the pool with a long drink has no place in my scheme of things. [/quote] ...what % of recording artists enjoy this sort of lifestyle, do you think?

[quote name='Dad3353' timestamp='1437383523' post='2825386'] That's not quite what I was referring to in the (admittedly weak...) analogy. The basic point is that, if and while work is being done, then the work should be paid, no quibbles. Once it's done, though, it's done, and shouldn't generate revenue simply for the fact of being 'wanted'. I was comparing the listening to a song to someone coming to look at (not own, nor take away; just to look at...) a painting I'd acquired. The original artist is not paid 'per look', and doesn't get to know whether his work generates a lot of lookers or not. His work is finished, and has been paid for. [/quote] Paid for by one person (who possibly commissioned it), who then owns it. What's the parallel with an artist investing their own time & money into creating an album? I honestly don't subscribe to this 'music is worth nothing' school of thought. It brings pleasure. Someone paid to make it. They should be rewarded.

[quote name='JapanAxe' timestamp='1437325548' post='2825095'] Great performance! 'Unbelievable' - in what way!? [/quote] One word: Trilogy. A mainstay of these festivals, and example of which is below. The first time I saw one of these, I couldn't stand up for laughing. It didn't go down well with the regulars. http://www.youtube.com/watch?v=L3KyZpbKn-8

Here's us at a country festival a few years back. Note the hats in the audience. This is nothing compared to the country festival we did at Skeggy around the time. Just.. unbelievable. http://www.youtube.com/watch?v=feSBUWJLBbk

I doubt you'd tell unless you could A\B them in a real-life scenario with a drummer. But then, I think it's either something you pick up on, or it passes you by.

Unfortunately, in the UK the country scene also means line dancing, people dressing up as Injuns, and carrying toy guns. It's a shame.