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My new rig

It is subjective in some ways but much more objective than we may realise in others. First (only?) question; are you good enough to do what is required of you? If you needed to slap and you can't, you don't get the gig. If you need to read and you can't, you don't get the gig. If you are needed to jump around and strike a pose and you stand there like John Entwhistle on Mogadon, you don't get the gig. If you can play all the Bach Cello Suites in all the keys but are not able to improvise, you don't get the Jazz gig. If you play Bach Cello Suites over everything and it's a Country gig, you don't get the gig. In my experience, praise and criticism come from many quarters and some is utterly unreliable. I have been called both solid and fluid in the media. Is this because the person writing the review only heard one song, one recording, one gig or is this because the writer lacks the language or insight necessary to properly described what it is that defines your playing? Evaluating your own playing is a continuous process that is determined in no small part by the experiences you have as a player. If you never move out of your comfort zone, you will never find yourself challenged and will have a distorted view of your own competence. If you have never heard great players (which is often the case in young players), you may have a distorted view of your own capabilities (which is often the case in young players). Until you have played with great players, you cannot properly evaluate your playing. Outside of London, being asked to do a gig is as much to do with how bad everyone else is as it is a measure of how good you are. It can also be about availability. Great players are busy players and can be unavailable. I KNOW I often get gigs because the 19 other guys the bandleader generally uses are busy. Put it this way, how would Geddy Lee fare in Level 42? (Have you heard Neil Peart with a big band? Ouch!!!). How would Mark King cope with a Motorhead set? How would Percy Jones do in the pit orchestra of Jesus Christ Superstar? Horses for courses but does failure indicate incompetence? Yes or no? I play a weekly gig with some of the UK's greatest players and I am reminded weekly of my shortcomings (one of which is I don't really know tunes, a source of shame in the Jazz community) but, at the same time, I find out things about myself and my playing that give me considerable hope e.g. my knowledge and competence in Latin grooves is much greater that one of the best piano players I use. Also, my reading is better than his. Curiously, I have also noticed that I am a 'better' player when I have rehearsed/practised the material. In short, we all have strengths in our playing and we all have weaknesses. We can play to those strengths of have our weaknesses revealed at the moment we least expect it. The joy of achieving competence in our chosen instrument is in the journey not in the destination.

We did a gig at the Catapult Club in New Cross. The bill was set up like Later, so the headliners went on first and did half a set etc, then finished the evening. It was well rough for 3 lads from the sticks but we had everyone dancing. My more current function band have just done the Courtyard in Hereford- went pretty well.

This one goes out to Blue(wine). Prior to this moment, the greatest event that previously occurred in Pismo Beach was getting a mention in a Bugs Bunny cartoon ("I knew I shoulda toined left at Albuquerque ...").

HPF is 45hz: http://www.tech21nyc.com/support/manuals/effects/Qstrip_OM.pdf

He's just put in a bit of paper that says 'Morning Cloud in the 2:15 at Kempton Park'

I'd love to do that (once at least). The opportunity hasn't come up yet, but I'm only 59. ☺

PM sent.

one of the reason why I “upgraded” to a JR sized from a Metro24 SC; so I can use the Mono case that is currently on sale from its UK distributor. Having said that, here is my board in progress, found a used Temple Duo 17. Not yet wired as my Guma Drive is not yet assembled. :-)

Yes to the lighter relic, but you can't have matching headstock on a P. You'll go straight to hell.

Send a link to this place- surely they owe you sales commission?!

There are only a few features I dislike really: 1. Pointy or overly large headstocks 2. Neck-dive (more ergonomic than aesthetic, admittedly) 3. Bongo. What were they thinking? 4. Buckeye burl 5. Literally everything about this monstrosity:

Havin read on this thread that the Rumble feature on the Tech 21 Para Driver v2 is a high pass filter I thought I`d give it a try this eve, and am pretty pleased with the result, albeit through my practice amp at home volumes. Engaged I have to push the bass on the PD a lot more, in fact to full on, plus back off on both the highs and mids a bit, add a bit more gain, and reduce the blend to 80% instead of full on in order to get the same sound as before. So why do it then - well the sound is the same but seems more focused, and, being a heavy hitter the sound could boom a bit at times whereas now it doesn`t so I`m getting a more controlled version of my sound. I suppose it`s a bit like finally finding the compressor that actually does what I want it to really, keeping me as me, but also reigning me in a bit. I`ll update as to whether it works in the band or not next week, but am feeling pretty chuffed at the moment.

That's what I call packed. Blue

Good work fella! Classy build.

Thanks I’m happy with it Total cost roughly about £90

Just in the process of buying a Magnum III

Yes. It's the depth parameter of the Ac Bs Pre effect. Between "bass pre" and "SVT" if the effects appear in the same order as the MS-60B manual. EDIT: seems to be in same place in B1on manual so if they're in the same order on the pedal that'll be where you'll find it.

It's still the "will of the people" though, right? (sailing close to the wind there, I know...)

I actually have to thank you for reminding me and that I am pleased to say that I am back to putting something together, though you'll be slightly shocked to hear that one of my TC's forgot it's settings the other day. This doesn't bode well as I need 100% reliability in some of the work I do. Ok, HPF - using a full band compressor as an example. - The threshold of a full band compressor is 'crossed' by the largest area of signal passing through the circuit. For us bassists, that's pretty much always the low end. One of the downsides to this is that the top end can end up being masked as the low end is pulled down in signal (the top end goes with it). If you are driving excessive low end (especially sub sonic frequencies) in to your compressor then these frequencies could be overwhelming the threshold. Or to put it another way, sounds you can't hear are actually limiting the output volume of the ones you do want to hear. * I'll add this before I get jumped on by the compressor police: Some full band compressors use a side-chain filter to remove low end in the sensing circuit to alleviate this problem. Multiband compressors do not suffer either, but in either case, removing frequencies that are not going to be of any use in the signal chain isn't such a bad idea. Think I'm off to buy an HPF..lol

More ' Girls Aloud ' surely Paul ?

41.75

Must be something to do with being of certain age.....also joined a (very busy) Glam Rock band at the late summer age of 54. Never had so much fun....the wigs can get a bit itchy though.

Yes indeed. Though the Roadworn series are superb basses IMO and the relicing does look great But as you say, each Limelight has slightly different relciing. You can specify the amount of relicing when you order one, but even 2 people specifying the same "level" of relicing will get slight differences The relicing on my Limelight is absolutely superb, I must say

Depends how much the victim vibrates their posterior as they sit down.

I had an LM3 for a while and thought it was fine. However, I have also played a few times through a Markbass rig (15" + 2x10" ) with the same model amp and had to pull back the bottom end and boost the HF to get a balanced sound. This was at a small festival that I have played at several times - so I was able to hear other players through the same rig. Most of them left the controls flat and sounded like they were playing a double bass in a cupboard.

Two great ones that spring to mind. Depping on bass for a cool blues guitarist/singer called Aynsley Lister at the Suwalki Blues Festival, in Poland, in 2016 - big stage in a park, awesome onstage sound, probably 1,500 to 2,000 people turned out to watch us, and we got treated like royalty all weekend by the promoters, which was amazing ha ha! Also remember doing a lovely wedding gig at a farm in Mid Wales with my band in summer 2015 - a sort of marquee made from interconnected teepees in a field, with cocktail bar etc in it, which was all lit up and night and had a real little festival atmosphere on a hot summer night. I was on lead guitar and vocals, and everyone was right up for it as the climax of the day's celebrations. The energy was incredible, as was the hog roast and real ale on tap, and the band played brilliantly. Remember utterly buzzing listening to Tom Petty on the long night drive home back to the East Midlands afterwards.

Yep, that's how it starts....enjoy the journey!

"Part time housekeeper wanted. Must be gourmet chef and look like a super model. Will pay minimum wage. Send photos for consideration."

I think other bass players always sound better than me, but then people say how come your band sounds so full and loud with one guitarist and I think, maybe I'm doing something right

Unsure if you're serious but he sets it up like that on purpose!

High Barn in Great Bardfield, Essex. Stunning music venue and recording studio, now it is just a very classy wedding venue. Played there in our Free tribute band, all ticketed and sold out. Brilliant gig, our best ever and well worth the 140 mile round trip.

Please someone tell me there's a Dio period album that's their best. Just for fun like.

The fact that you've described two of your fellow band members as a "F**kwit guitarist" and an "egotistical keyboard player" in an open forum means to me that this isn't the band for you. Either you need to convince the rest of the band to get rid of them or you need to go.

I work on the principle that I am the best at playing in the style I do. If that's what you want then no-one else will be as good. If you want something else, choose the person who does that best. There are too many variables in other ways to compare.

Hi, welcome here. I live in Krimpen ad IJssel; very close to you. Enjoy your stay on basschat. Duncan

I think so. An alternative would be 18 1v batteries, but it might make the basses too heavy.

It was easy to ban the Ric content from the forum because most of the members can't stand the clanky neckdiving tat anyway

Nick just bought my Jazz . What a great bloke,very prompt payment, great communication through out. Had a chat with Nick a few times and it was like talking to an old mate.Hope the Jazz gets lots of use. Anyone thinking of dealing with Nick can do so without any worries. Top guy

I bought Nick's Warwick Streamer LX Jazzman. A beautiful instrument and an easy transaction with a lovely guy. Excellent communication and extremely helpful. I know you were sorry to part with it but it has gone to a good home where it will be lovingly cared for! Thanks very much dude all the best to you and your family. Keep on rockin'

Nick and I did a tradey-swap yesterday, my new 50's p is superb! Thanks matey! Very speedily arranged meet up, v mellow fellow with lovely kids!