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Mt Hood = big fu**ing volcano

Dreaming - Blondie

Full set run through last night, getting ready for our slot at the Folk and Cider festival at the end of May. Got through most of the songs without issues, just a couple that stubbornly refuse to settle in - maybe change where they are in the running order. Used my Martin short scale acoustic into Phil Jones Double Four, with a line out from the Ashdown Acoustic pre-amp to the desk. Eagle eyed will notice that there's a feedback buster in the Martin, which has been a welcome addition to the setup! Overall, a very productive evening!

Sweet looking bass, but my wallet whimpered at the pre-order price here.

I Go To Sleep - The Pretenders

Bed Of Roses - Bon Jovi

And there are dozens of other brands that will do the same, usually for less money, and better consistency and QC.

Not last night, rather last month. This place is out in the country up towards Mt. Hood in Oregon, about a twenty minute drive from where I live in Washington State. It serves an old nine hole golf course and when the weather's nice there will usually be at least 40-50 civilians and 10-20 musicians. The host plays mandolin and guitar and is conversant in many styles, so many players choose to use him for backup. Most of the open mics I frequent feature a lot of working pros, many of whom I've known for 20-30 years or more. I tend to sign up for a three song slot and then wait and see who gets shut out of the 10-12 15 minute sets, then grab a few and work out something to play. I also do solo bass sets with vocals sometimes though, or jazz duos with the host where we throw darts at his iPad and wing a few Real Book tunes. I subbed in one of his gypsy/swing/country bands years ago, and still have their book, so I can shed on a few tunes beforehand if the mood strikes too. And then for the last hour we typically turn off the PA, circle the wagons, and go around the room with everyone getting a couple of features and a lot of learning going on. I am allowed to plug in my bass, and really weak singers might get a mic if the host deems it necessary, but it's all acoustic beyond that, and often sublime. Some folks just show up for that last hour, and the staff take a load off and relax a bit, while starting to clean up a bit. We quit around 9PM, which is official closing time. This is the view of Mt Hood from the parking lot: And then this was the last electric set, which I got pulled up for with no notice, just after I finished a set with a singer-songwriter I'd never played with before: I don't own a fretted bass, but I had just finished a preamp install on that one and wanted to see how it sounded in a full mix. No advance notice of the song selection, but at least it was something I had heard 40 years ago...

In my opinion the difference between Montanans & Texans is more of a cultural thing. Texans tend to have a sort of arrogance that can be a little overbearing to some people and I just don't get that same vibe from the Montanans that I've associated with. Just my opinion now....

I saw them in 2006, they were great.

And great fun it was good for the soul live music

@TheGreek's Psilos as built by @Andyjr1515 springs to mind.

That's a real shame about Sam. I messaged her a week or two ago to see how she was - that explains why there was no answer.

I am a Fender fan, but they said nothing that would make me reach for my bank card.

I was having a laugh (as indicated by the winking smiley after my text), and I didn't make it personal. You can stick your "clueless" comment somewhere else - I've owned two, and it was two too many for me, that's my clue, it is derived from personal experience. If you like 'em, you're not wrong - I'm not going to call you names for liking them, so how's about a bit of respect for those whose opinions you disagree with?

Not a Fender fan, but I wouldn't mind owning this one. I don't expect anything innovative from Fender, why should I, but this sounds like it may just be something that gets the job done, and that's really what it's all about.

A few observations … The pickups have this odd (to me) looking lip on the top of them. This is neither good nor bad, just something I never expected. The volume level from the bridge pickup (soloed) is pants. Very different to either the middle or neck pickups. This isn’t really a big deal to me as I’d never be soloing that pickup anyway - I never run bridge pickups solo - but may be useful information for someone else reading this. I’d be much happier if, instead of solo bridge pickup, I could have all three pickups instead. The neck/middle pickups sound great though, and the bridge with middle pickup works very well too, so there’s absolutely zero complaints about the voicing of pickups in the available combinations. Da fuq is up with the fretboard overhang?!? I just don’t get it. It looks, I want to say vulnerable, or fragile, but I guess I just don’t understand why it was left like that and they didn’t have the neck go all the way under the fretboard. Speaking of the neck, it’s absolutely gorgeous to play this bass. It’s effortless to travel up and down the neck whilst playing. I was almost able to play it straight out of the box, there were very minor tuning adjustments needed, no issue with neck relief though, just tuner tweaks. For the people wanting numbers, it’s a 34” scale, 19mm string spacing and 47mm nut. Mark

I only went and bloody did it! After this post in the NAMM ’25 thread, and my reply, I waited, and pondered. Then, once I’d seen that Merchant City Music had the Natural version in stock, I hmm’d and ahh’d a bit more, then sent off an email enquiring about the Silver Burst version. As per this status update of mine, I went ahead with the order. Enough words, here’s the PoiDH … There's more images in this Flickr album … Reverend Triad 5 Mark

Two things. One, pay no attention to the acoustic bass detractors...they're completely clueless. Two, go with tapewounds or flatwounds and forget all about bronzewounds. As for Ibanez acoustic basses, the AEGB24E is pretty good. Not as nice as my acoustic bass, but not many are. I believe this uses coated strings. Feel good, nice tone.

Sorry to hear of your struggles. This is most unusual. If the manager isn’t reading the files, but the editor messages are being received, then it sounds like the problem is that the response message from the FI isn’t getting back to the PC. Have you definitely selected both the in and out ports in the editor and connected both cables? Go to midimonitor.com (with the editor closed). Plug FI into interface and change programs using FI’s foot switch. You should see the PCs being sent in the MIDI monitor, which will confirm that the out port is working. Have you tried using a different usb port on your machine? One other thing - you used to have an FI v3 right? It could be that some residual files from the v3 editor are somehow interfering with the v4 editor (though unlikely). Might be worth checking that all old install files and associated config files are removed. Another thing might be if your Volt (or its software) is taking charge of usb MIDI ports in the background. Also may be worth making sure the generic windows usb MIDI driver on your machine is the latest one.

I had looked but they didn't seem to be anywhere that was that near me to go to. I have seen them probably more than any other group, but not since the 80s!

The Floral Dance - WOGAN

My drum knowledge is not exactly tip top, but it looks like his kit (at the RAH) was an electric one. Cymbals look like the black ones that you usually see with an electric kit.