LeftyJ

Whatever aggregator you choose, ALWAYS sell through Bandcamp as well! None of the digital distribution sites require exclusivity, you are always free to use a different in-store distributor and/or your own webshop or Bandcamp simultaneously. It works like a charm! My band uses CDbaby, Bandcamp and we also have our album in consignment with an in-store distributor that operates in the Netherlands, Belgium and Luxemburg (Sonic Rendezvous). I wrote out a whole 8-page comparison of several aggregators and Bandcamp for my band when we were in your position a year ago. I wish I could share it here, but it's all in Dutch! I looked at Bandcamp, CDbaby, Rebeat, Songflow and Tunecore. We chose CDbaby because they've been in the business the longest, have a good reputation, a large network of retailers, they can sell and distribute physical CD's too, and their rates seemed fair. In the end we didn't use CDbaby for physical CD's, because they only stock 5 pieces at first. The shipping costs would get very expensive if we'd have to send them just small numbers of CD's per mail every time. Shipping to the USA is expensive! Personally I'm very happy with CDbaby so far, but if I were to do it all over again today, I'd probably pick Rebeat. Their list of retailers is HUGE, their computer application appears very easy to use, and they charge a one-time fee of €99 and after that it's only €1 per song, €5 for a barcode for your album or single, and €1 per song to request an ISRC-code which seems fair. If you're planning on doing more than one release, that's fairly affordable. Only downside is they require a Credit Card to charge all your payments. No PayPal or bank transfer or whatever! They do pay you by bank transfer though. Bandcamp just requires a PayPal account for all payments, and is very easy to use. What's very cool about Bandcamp is that you can also offer your album on presale, before the actual release date. You can offer any number of tracks for immediate download at purchase, and you can ship out the CD's later. Bandcamp will release the other tracks for download as soon as you've manually confirmed the release date has been reached. That way, you can more or less use Bandcamp for "crowdfunding" too! Most of our sales (aside from CD sales at gigs) went via Bandcamp

Interesting SSI to the far left, I've never seen one with dual splitcoils!

Hey, that looks very similar to a Daion bass somebody I know owns. Might be related?

Riiiiight. So basically they're just saying "F*** you, go get a right-handed one and flip it" and even assuming you're going to do that anyway, as they're asking for your serial number already

Pretty cool, needs some tidying up but looks like a lovely player given the right amount of TLC

[quote name='TraceAmp' timestamp='1373520492' post='2138485'] [/quote] Awesome collection! I use the SVP-CL and SVP-PRO too, love both of them.

Forget it, they're not going to... Maybe save up for a Schecter Hellcat VI?

Looks interesting, never seen anything like it.

I shipped a Rickenbacker 4003 to Spain with DPD. Most Dutch shippers had a length restriction and being a neck-through-body bass I couldn't remove the neck to make the package shorter. DPD were the only ones not having that problem, and still at a good price.

I've been listening to this band a lot the last couple of weeks. I had never heard of them before, but saw their album featured in the little Inside Out Music leaflet that's always included with releases by that record company (in my case: the new Ayreon album) so I downloaded the album to check them out. May well result in me buying the album on CD, I'm impressed

This is interesting, I'll be keeping a close eye on this topic I've been using an 80 GB iPod Classic extensively, mostly in my car (hooked to a Parrot MK9200i carkit with an iPod connector, SD cardreader, USB in and mini-jack in) or in my company van (hooked to a iPod USB-to-mini-jack cable - I hate going from the headphone output to a line input) nowadays and I would hate it dying on me. They're still selling the current 160 GB version, but I would hate having to spend 250 euros on a new one.

Both my TRB5II's had this too. It took me hours to find the problem the first time it happened! I did a full rehearsal with a slowly increasing squeal and had no idea where it could come from! Switched cables, tried a different amp, a different wall socket, but as I hadn't brought a backup bass, I couldn't switch basses. Back home I changed the battery and all was quiet again. Scared the living crap out of me!

The whole band is playing Ibanez in that video They probably had an endorsement.

basgitaarforum.nl basschat.co.uk leftybassist.com Facebook marktplaats.nl eBay.de eBay.co.uk And sometimes when I'm bored I like visiting artificialowl.net. They have wonderful collections of images of desolated and abandoned places. Sometimes beautiful, sometimes eerie, sometimes plain weird, but always fascinating. You can browse by category, by country, or just check the posts in chronological order. I love the site, some of their pictures are really stunning. Stuff like this, pretty awesome: [url="http://www.artificialowl.net/2008/08/former-classified-underground-submarine.html"]http://www.artificialowl.net/2008/08/former-classified-underground-submarine.html[/url]

Well, bit of a dilemma here. Right now I'd say the bass I play most is definitely my Warwick Streamer LX5. It's got a very agressive, bright, growly tone with lots of punch and supertight fat lows which works perfectly in my metalband. But "the One" would probably be my Ellio Martina Forza 5. It's been with me for about 7 years now and has been my go-to bass for most of the time. It can do all: it's basically a Jazz Bass on steroids, but the versatile electronics and the amazing pickups (homemade by the luthier who built it) make it capable of almost anything you throw at it. If I could only keep one, this would be it.

I just switched from using a .130 B-string to a .125 (Elixir) and I'm loving it! It sounds less boomy, more defined and feels great. I feared it would be sloppy, especially compared to the E-string, but it doesnt! Even though I'm still using a .105 E! Maybe next time I'll try an overall lighter set with a .100, who knows, I might actually like it!

Looks nice! I don't usually like black pearloid pickguards, but this one goes really well with the orange. What preamp is in it? Are those Rotosound Nexus strings? How do you like them? I absolutely hated them on my G&L SB-2 and Cort B4! Thin and awfully dry.

Part 5: [media]http://www.youtube.com/watch?v=mW_9T25Wgvg[/media]

Part 3: [media]http://www.youtube.com/watch?v=VhBHnuiDCBk[/media] Part 4: [media]http://www.youtube.com/watch?v=Rgf15YJ2NaQ[/media]

If you liked watching that, you may also enjoy this documentary hosted by Howard Goodall. It's one episode, split into 5 short parts. Sorry, forum rules only allow two per post: Part 1: [media]http://www.youtube.com/watch?v=81N_fMNVFzw[/media] Part 2: [media]http://www.youtube.com/watch?v=AVhQJZuFUOA[/media]

Looks nice! Makes a lot more sense to me than a Thumb SC, which looks HUGE. This one is actually quite elegant!

Love these! I've seen Peter Vink perform with Yamaha SB's often. He still frequently uses an SB600.

It may not be solid orange (the finish is actually called Autumn Redburst, with a beautiful sparkle that looks even better in real life) but the center bit is definitely orange! It used to have a tortoise pickguard but I changed it to a black one. Still keep the original one around in case I ever change my mind, but I think the black one looks better on there. Fantastic instrument, rocksolid, sounds great, and no weak G string issues whatsoever.

[quote name='Gust0o' timestamp='1384561546' post='2278327'] The worst combo we have in our rehearsal space is an Ashdown. You can't get any volume out of it, despite the pretence of power and it just won't shape up - leaving me hoping to beat others to the Hiwatt or Peavey! [/quote] You can get lots of volume out of an Ashdown, as long as you keep the bass EQ knob down to 9 o'clock or lower. These things suffer from having SHITLOADS of bottom end and subharmonics, which makes them sound very muddy and boomy. But when you cut those frequencies, you're rewarded with a very nice and useful tone. I have owned an ABM300 EVO II 2x10 combo with an ABM115 Compact extension cabinet, and I must agree, before I got that extra cabinet I couldn't get a decent volume out of it. But once I could put the full 325 watts to good use, it was LOUD. But therefore I also agree I wouldn't place one in a rehearsal space. The EQ section of the higher end Ashdowns takes a lot of tinkering before you get a rewarding tone out of them that punches through the mix rather than pushing everyone else away or drowning in sub. Mine also had some reliability problems, it got very hot because I had to crank it so far to be heard and during rehearsals the thermal protection would sometimes kick in and it would suddenly be dead quiet.

Wow, those look killer! Were the tops cut from the same piece of wood? They look so similar!