Franticsmurf

I've been trying to remember to make more eye contact with the audience. Here is a recent lapse.

To be fair, I don't notice the output drop between 2, 3, 4 and 5 (5 being the bridge pickup). The neck pick up does have more output but is fine with a little volume adjustment.

It would be tempting to replace like for, well if not like then at least similar. But, the gig is in an hour and I need to set the effects up to my liking. So it would be a Zoom B1Four or a Zoom MS60B so that I would have a representation of everything at my feet with a minimum of fiddling. I am familiar with both (the MS60B sits on my board anyway and the B1Four is my back-up/practice pedal) but I guess any simple multi FX unit would do. I'd hand the balance back to the band kitty with my thanks. But, if the shop wasn't a Zoom stockist (in this scenario, the salesman laughs at my suggestion of cheap multi-fx of any kind, implying that no serious bassist would be seen with such an abomination), it would be a reliable tuner, a Laney Digbeth pre-amp and an EHX bass clone and that would probably do it. Not an exact like for like replacement but all pedals I own and have used and close enough for a one off gig.

I use a Sterling 34HH and I tend to find myself using the middle three (of five) switch positions - that is 'outer coils only', both pickups, inner coils only' . The neck pick up is the one I use least - largely due to the style of music I play which doesn't need that deep and powerful tone. I'll use the bridge pick up on its own if I need to cut through. I like my 34HH but I have to admit that the quality control wasn't the best - the 5 way selector switch was noisy out of the box and while it doesn't affect the tone when I'm playing, I would have expected better from what is the most expensive bass I own.

+1 for the Lekato WS-80. I'm using it with an active Sterling 34HH, and active Ibanez EBS1000s and various passive basses, all without problems. I've used it for a couple of 4hr gigs (from fully charged) indoors and outside and it hasn't given up on me. I can't comment on maximum range but I've had no problems wandering about 20m or so from the receiver.

Halloween celebration last night with the Hulla Band. It was in our local rehearsal hall and a freebie for the village locals who support the band. Donations were collected for a local homeless charity. We had a good crowd who came in fancy dress ready for a dance and sing along. The performance was a bit chaotic as the beer and wine had been flowing for a while before we kicked off at 8pm. The first half was about 90 minutes and then, after a 15 minute break, we played for another 2 hours. The last few songs suffered from the alcohol and if I'm honest I didn't enjoy the second half as both me and the drummer, being commuters to this village, were not drinking and therefore very aware of the chaos. The crowd loved it, (the feedback is coming through as I type) and the donations flowed all night so overall it was a success. But it's a shame we didn't play better as the atmosphere was great. Everything went through the desk and we have a good regular sound guy so the FOH sound was good. I was using an Ampeg SVT patch on my Zoom MS60b which cut through the mix nicely and gave me a little bit of grit on a couple of songs where I played with a pick. I was using in-ears and the sound from my bass was nice and clear in that mix. I had a couple of compliments about my playing - obviously they didn't hear the mistakes, of which there were a few. I have one of those blame shifter pedals on permanently. 😂

I quite liked the video - it had a touch of the humour from early Beatles interviews. Edit: And from the Hard Day's Night movie, too.

The Hulla band is playing at their local village hall tomorrow night as a thank you to the village, who have supported the band with gigs and the ongoing use of the hall as a rehearsal room and occasional venue. This will be one of those fun gigs - is themed on Halloween/Day of the Dead so there'll be fancy dress on and off stage. The band is a not-for-profit thing, raising money for local charities including a contribution to the upkeep of the hall and this year we've raised more than £7000. A large part of that went into funding a minibus for the local primary school - being a rural community, transport is a costly part of their budget. The set list is as varied as the individuals in the band, ranging from 'Country Roads' (the first song they ever learnt when it was just a social gathering rather than a full band, and well before I joined) to Dakota (which was quite subdued until I started playing it with a flanger and a pick 😂). As it's local to almost everyone (the drummer and I have a 30 minute commute each way but everyone else walks), there'll be a good atmosphere and it'll probably go on well into the night. We played a festival in the summer and the set list was well over 4 hours with a ten minute break. So although my main bass for the night will be my Sterling 34HH, I have a much lighter headless as an option should the back and shoulders start to sag. 😃

It was ok. I don't think it would have been a single in itself. Interesting that it's being released with 'Love Me Do' as a double 'A' side. To increase sales? My understanding is that it was a Lennon tune started in 1978.

Just had a quick look at the site and there's nothing in Wales. Shame because it looks like a decent resource.

Almost always two, alternating. Sometimes one in a semi 'pick' style (imagine gripping a pick between thumb and 1st finger, but without the pick. The edge of the 1st finger acts as a soft pick). The three finger gallop makes an appearance for the occasional tune ('Does Your Mother Know' at the moment) or if I'm a bit bored during a practice or rehearsal. 😃

I would imagine the difference would become more apparent at gig volumes. Probably more noticeable in the overall sound as well, as there should be space around the bass drum and, if my understanding is correct, more headroom in the PA amp which is no longer trying to cope with inaudible bass frequencies.

There's another HPF thread here. (I've partly quoted my response from there). I've recently added the Sine H24 to my board, at the end of the line. I can't compare it with any other HPF. We have a regular sound guy and he was showing me the EQ he uses for my bass in the FOH sound. It had a cut at 35hz and since I like the sound he gets, I thought I'd invest. I tried the Sine at rehearsals, going in to a TCE BAM200 and a 1x15" bass cab. The Sine was set to cut 30hz (the lowest setting). I could definitely hear a difference with it engaged. Very subtle but it tightened the sound up. We record all our rehearsals (just in case we want to release a 'Lost Tapes' retrospective 😂). The recording had a more defined bass guitar sound (all other factors - mic position, recording levels etc - being equal). The master volume on the amp was slightly lower than usual. A non-scientific review, I know, but enough for me to be placing this as a permanent 'always on' pedal on the board.

Enjoy the break to recharge, refresh and enjoy the bass.

I'm good enough to be in the bands I'm in, and almost always the best bassist on stage when they play. 😃

In the sense that I only listen to music that is to my taste, then yes I guess I am limited. But I have found that as my tastes have widened, I have embraced the style well enough to play. Just after lockdown I joined the Hulla band and their repertoire is enormously varied as it largely down to the whim of the band leader and the line up of the band. We have ukes, banjo, bongos and brass as well as drums, bass and two guitars. So we play country, folk, rock, funk, pop and (for want of a better term) easy listening. I've had to listen to and play songs I wouldn't normally take notice of, and that has broadened my playing style and in some cases my musical tastes. So in another sense the limit is what I put my mind to and not personal taste. I am not interested in playing jazz, which is probably a good thing as I don't have the technique or discipline to do so, nor metal. No reflection on the genres other than I don't listen to them.

Having tried resting my thumb on the strings and not really got on with it, I found that my technique works better for me, (I play with a pick, my finger tips in a kind of plucking action and the traditional finger style depending on the song). 😃 I rest my thumb on pick ups and occasionally the neck where it joins the body. I wouldn't advocate my technique over any other way, but be aware that there are several methods and choose the one that works for you and the music you're performing.

I struggled with that (and still do now and again). There were so many bits of advice - in the end I just found ways of doing it that suited the way I was playing the rest of the song. So sometimes I will use my left hand fingers that aren't fretting, sometimes the palm of my hand either on all four strings or just dabbing down momentarily, sometimes a finger or thumb from the right hand. It's not an elegant technique but it works for me.

As above. If I was starting out now, I'd need to have some motivation. That'll be different for everyone. In my case, it would be to be able to play a few songs with other musicians but it could equally be to be able to record a bass cover video of your favourite song or just to be able to play along to your favourite album. Set little goals so you know when you've achieved something. Scales, theory, reading - all important and will bring you immense benefits, but don't let then get in the way of enjoying the playing. If learning the bass becomes a chore in the early stages, it might be enough to put you off. I started off playing guitar and after I'd got some of the basics, the biggest improvement came through playing with other musicians. It allowed me to listen, question, learn, make mistakes, correct them, build confidence and contribute to a great vibe - which itself became a reason to learn and play more. There is a wealth of resource on this site. Not just the Theory and Technique section but many of the discussion threads as well - I've picked up loads of little hints and tricks by reading posts that aren't necessarily about technique. Above all - have fun. At last night's rehearsal we had to take a 5 minute break as everyone was laughing. I can't even remember what it was about. 😃

The rehearsal with the Hulla band was a bit different last night as I was... er... ahem... ummm... playing guitar. In my defence, I'll be away for a big gig at the end of November and we have a band member stepping in (up) to play the bass. She's never played it before and has been learning the songs and playing the occasional song at rehearsal. So last night was a good test for her and she passed. But rather than stand around looking like a punter, I brought my semi acoustic guitar and played along with the tunes just to see if I could still do it. I could! And yes, I enjoyed. There. I've said it. 😃 (Edit: to add photos)

Or make that your sound in the band. So in years to come, the posts on here will go along the lines of "...first one fretless, lots of nods to Andy Travis..." 😃

Nice fretless and I could definitely hear the Guy Pratt/Floyd influences. Great stuff!

The longest serving bass in the ranks of my small collection, this Spirit XQ2 headless has been with me for more than 20 years since I first spotted it going for next to nothing on Ebay. It's battered and bruised from my attempts to fit a Roland GK3B pick-up, I hadn't changed the strings for about 3 years until a couple of months ago when I picked up a bass string adapter and put four newish single ball end strings on it. It's gigged, recorded, acted as a spare and been the talking point for many a drunken punter ("Hey mate, your head's fallen off!" "Yeah, I know, all your mates have already told me"). When I got my Sterling 34HH and later, my Precision, it sat patiently in the corner knowing I would return. And when I depped with a mate's band last year, it performed admirably as I knew it would. It's currently resting as I renew another old friendship with a Hohner Jack. Edit: It has a great drop D bridge tuner for those 'Brick in the Wall'/'Dead or Alive' moments. It's light and feels great to wear and play. The sound is growly straight into the amp but it's a passive beast. It's probably not worth much to anyone but me and it will be the last bass to leave the collective should I need to sell up.

Keep going. If you think of it as a competition with other originals bands, the ones that will succeed are the ones that will go on longest. As Dave has said, try self promotion. Get in touch with other bands to organise (and share the costs of) a double header. Blag gigs, gatecrash open mic nights, offer student unions a discount. As an originals band it's like a start up business - investment for log term return, loss leaders, promotional freebies, charity nights for exposure. While it doesn't do to be taken advantage of, if you're in control and plan your strategy to achieve the goal of getting known, anything legal goes. Good luck. 😃

If I'm using backline I'll start off with the settings for the last gig and adjust accordingly. I'm starting from something that worked last time and while, as has been noted, all rooms are different (and sometimes change during the evening), I have find it easier to work towards the sound from a known starting point. If I'm going into the FOH (as I do with one band), my settings on the board pre-amp are pretty much fixed. I adjust the bass using the shaping knob on the Digbeth and work with our regular FOH man to get the right sound.