Earbrass

Great basses (in unmodified form).

Sold a reverb pedal to Tim, all good, would definitely recommend.

Cheers for that. I scored an Arturia Minibrute 2S for £470. Bargain!

Still for sale.

Not random, amateur or "hit n' miss" at all. A lot of folks on here give the impression of being far more interested in collecting / swapping / playing with / showing off their toys than in music. No shame in not being one of them.

DPA d:screet miniature instrument mic kit IMK-SC4061. Complete with box, pouch, XLR mount, manual and a variety of instrument-mounting bits and pieces. This is a pro-level piece of kit, and has had only light home use. £275 posted within UK Thomann product page: https://www.thomann.de/gb/dpa_imk_4061_set.htm My feedback

DPA d:screet miniature instrument mic kit IMK-SC4061. Complete with box, pouch, XLR mount, manual and a variety of instrument-mounting bits and pieces. This is a pro-level piece of kit, and has had only light home use. £275 posted within UK Thomann product page: https://www.thomann.de/gb/dpa_imk_4061_set.htm My feedback

TC electronics Flashback delay pedal, in immaculate condition, complete with box, USB lead and paperwork . Bought only a few months ago for a project that fell apart. Home use and a couple of rehearsals only. Never gigged or velcroed. Please note that this is NOT the new Flashback 2 pedal. £75 posted within UK product page: https://www.tcelectronic.com/Categories/Tcelectronic/Guitar/Stompboxes/FLASHBACK-DELAY/p/P0C80 demo: https://www.youtube.com/watch?v=pICHsCPNVrg My feedback

SOLD MXR M300 Reverb pedal, in immaculate condition, complete with power supply, box and paperwork. Bought only a couple months ago for a project that fell apart. Home use and a couple of rehearsals only. Never gigged or velcroed. Has an interesting 'Pad' mode, in which you get two 'shimmers', one an octave above the signal and one an octave below, which can be blended using the Tone control. £145 posted within UK product page: https://www.jimdunlop.com/product/m300-7-10137-07231-2.do manual: https://vidweb.aws.marketlive.com/jimdunlop_vid/text/content/pdp/manuals/M300.pdf review: http://www.theguitarmagazine.com/reviews/mxrm300reverb/ demo: https://www.youtube.com/watch?v=LAeWwMC2EaI My feedback

I find the turn that this thread has taken rather bizarre. While one might reasonably claim that the gender of an instrumentalist is, or should be, of no relevance to their suitability for any given band, this cannot be said of singers. The male voice is, in most cases, intrinsically quite different from the female voice in range and timbre, and a band seeking a vocalist might well have good reasons for preferring one over the other. It would be odd then, surely, for a vocalist advertising their services not to specify their gender. In the case of transgender women, the situation is a little complex, as vocal reassigment is one of the more challenging parts of the process. This is what the (US) National Association of Teachers of Singing has to say on the matter: A transgender woman will have gone through puberty as a male. Her larynx enlarged and descended in the neck, the vocal folds became thicker and longer and the voice deepened into an adult male voice. Once puberty is complete, there is nothing that can reverse the process so she may choose voice therapy or phonosurgery to sound more feminine. Voice therapy should be undertaken with a speech-language pathologist qualified to work in this area. Voice therapy goals include raising the average speaking pitch, usually to an androgynous pitch area and modifying voice quality, resonance and inflectional patterns. There are several phonosurgical procedures used to raise speaking pitch and eliminate lower pitches. However, these are controversial, the outcomes are mixed and they don’t address other vocal characteristics, such as resonance or voice quality. (https://www.nats.org/cgi/page.cgi/_article.html/What_s_New/Training_the_Transgender_Singer_Finding_the_Voice_Inside) For the advertiser to describe herself simply as a female singer could therefore be misleading. Quite reasonably, she has specified her gender as "transwoman". As has already been pointed out, this is in no way a description of her sexuality, which is of course entirely irrelevant. The fact that she has felt free to describe herself in this way could be seen as a positive and welcome sign of increasing acceptance of trans people. Some here, however, perversely choose to interpret it as evidence of intolerance. There seems to be a view that any suggestion that a transgender person is not in all respects the same as someone born to that gender constitutes some kind of hate-speech. It isn't; it's just an acceptance of reality. Maybe one day medical science will advance to the point where that view is justified, but we are not there yet. The fact that this issue has triggered an intolerant hate-filled rant against an entire generation just shows that when it comes to self-righteous bigotry, there are some amongst those who consider themselves "progressives" who could give any US evangelist preacher a run for their money.

I think the poster is irony-impaired. The fact that the advertiser is trans-gender could be highly relevant if their vocal range is closer to that one would expect from a male singer. Of course, that could be a point in their favour - it all depends on the band.

Put your experience in his feedback thread. At least then others will know what to expect, and will possibly feel less aggrieved if they receive similar treatment.

As my current roles both involve me playing an unamplified nyckelharpa, I'm going to have to say "no". However, when I last played bass in a band I used a Peavey Milestone, so a squier would be a step up the poshness scale.

This is all too often the case. Blaming the (non-) punters for being "lazy" is ridiculous. The onus is on venues and performers to provide an experience that is appealing and attractive.

In recent months I've attended several concerts (Philharmonia Orchestra, a violin duo, a solo pianist) where there were no compressors (or indeed any amplification) in evidence at all, despite it being, as others have pointed out above, a scientifically provable, unarguable fact that compression makes music sound better (it is, after all, a simple matter of the measurable behaviour of sound traveling through air). As far as I could tell, the only mechanism they had for managing their dynamics was to rely on the skill and musicianship of the individual players! Honestly, I felt embarrassed for them. I did ask one cellist whether she'd considered using a compression pedal to help her "sit better in the mix", but she just looked at me as if I was some kind of weirdo. Amateurs.