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Hi everyone, I'm posting this story because it reinforces what a close-nit community that we musicians, and in particular, bass players are. Some of you might have noticed recently I advertised on basschat a lovely Paul Everson Caiman bass for sale. I acquired the bass through a trade about a year ago with a guy who advertised it on Facebook. We met in a service station. I swapped a very nice 4 string Shuker bass for the Everson, had a nice chat with the fella who bought it and returned home. Whilst we were talking the lad confessed to me that he had found the Everson Bass in one of those second hand chain stores that have 'cash' in the title. He knew next to nothing about basses but had liked the look of it and bought it. He then tracked down Paul Everson on Facebook to get some info about the bass. I loved the bass. It appeared to have been treated quite badly. The electrics were shot and it was covered in a weird thick dust. I had it cleaned, sorted and set up and quickly picked up another Everson that appeared on Facebook. That was around a year ago. I recently decided to sell the caiman. Id always had a little niggle in the back of my head about 'Cash _________' and wondered if I'd been a little naieve in my trust. So to put my mind at ease I contacted Paul (Everson) who told me he had sold the bass through the great British bass lounge. I then contacted Drew who was running the lounge and asked them both if any Everson basses had been reported stolen. They both did some digging and came back with a resounding no. Drew had a record of a sale to a lad called 'Justin' who lived near Bradford (I'm in Macclesfield). So back to present day. After advertising said bass on Facebook and BC I received a message from a lad called Justin who explained to me that this was his bass and that he'd had it stolen in early 2016. I immediately phoned him and we discussed at length what to do. Now the dilemma. Justin hadn't been insured and had lost the bass along with a whole heap of equipment. He had been scouring the Facebook sites to try and recover the bass for the last 2 years. I had essentially swapped a 900 quid Shuker with it. The lad who had bought the bass oringally had moved the Shuker on. We were all victims of crime and it was a difficult puzzle to unravel. Justin had contacted Yorkshire police for advice and they had said it was a civil matter. Anyway the final result is that we met the following week and Justin got his bass back. It was a great end to a saga and needless to say Justin was chuffed! Just a big shout out to Paul Everson and Drew for caring enough about this story to help me with my clumsy detective work and a big shout out to Matthew who contacted me on behalf of (current) BBL. The photo below is of Justin (on the left) recieving his beloved bass back! Moral of the story. Cash ___________ are a store I like even less now and Bass players are awesome folk. Andy

You dip it in washing up liquid then wave it about to make loads of small bubbles.

So, Just because I can, thought I'd "improve " the head amp cabinet of my BTA300 ashdown, spurred into action by the aquisition of MatampGt1Mk1amp'n'cab that is wine coloured with gold faceplate and corners. Besides many hours, this stands me at ninety quid so far, and I think will be great in the lounge on its Orange cab, yes, that's next after this !

That's because you're confusing a compressor with trousers. Again

I regularly gig without a compressor. It invariably ends in hordes of incredulous gig goers RIOTING IN PROTEST because I've ruined their night.

For crying out loud, has this turned into a Barefaced thread?

If you're worried about your strings not lining up exactly with your pickup pole pieces, it means you've got far too much time on your hands, you muppet!

Long story but my ABM didnt have an HPF, so Ashdown sent me one (for free!) They had a spare fully populated board, from an ABM1000 I think, so I'm going to get it fitted. That way it's all inside the head and is custom designed for the amp. Cant beat Ashdown for service! I would stress that although I'm hugely appreciative, I wouldn't expect they'd do it again as I think it was the last spare board in the workshop. So, still feel the 'need' for an HPF but I've had a change in amp circumstances, rather than a new amp really!

Now you're just meshing about

To be fair, it must be a horrible job working in a guitar shop. Went into the local emporium the other day to find four jibber-jabbering teenage Italian tourists gaggled round their mate who was playing ham-fisted metal licks at earsplitting volume on a £1500 Fender. The sales guy was stood behind his counter, rigidly immobile from the top of his head to the tips of his toes. The only thing that betrayed his utter dismay was a wildly twitching left eyelid. Sensing an imminent and possibly catastrophic customer service failure I made my excuses and left.

Come on, tell us - I didn't expect to have to grille you about it.... Sorry.

A new letter box to stop junk mail?

Not all Squier Affinity basses pass muster. A friend brought me his because the neck was bowed. However much you adjusted the truss rod it just stayed bowed. Concluded the truss had broken. There are a lot of budget basses out there, look at Spector Performer series, or lower priced Ibanez, you may do better than a Precision.

Ah - the Dave Swift move.

Is it the start of a bee hive assembly ?

Perhaps i'm thick skinned, but I wouldn't let this experience let me cut off my nose to spite my face, and not get the product I wanted at the right price.

Oh that's good. It's good to be specific, far better than having it and then going around looking for an amp it looks right on

My tip for BV's: First get the bassline off pat so your hands can play by themselves and you can dissociate your mind. Then I learn the notes of the BV's by playing them as a pattern of notes on my bass. That way I can remember them as a bassline and always remind myself of what i should be singing. For LVs and BVs, some notes resonate with your chest, some in your throat, some with your sinuses, find out which notes are resonating which part and imagine you are singing through that part of your body. Sing through your nose and mouth at the same time. If you struggle to hit the high notes, imagine you are singing through the top of your head or your frontal sinuses. If you need dirty bluesy sounding vox, tighten your vocal chords. Practice and Fishermans Friends will extend your range.

This comment allows me to hopefully explain some of the misunderstanding around compression, so if you don't mind I'm going to dive in a dissect it a little Firstly, and with respect (not wanting to single you out), this type of response suggests that you don’t fully understand the purpose of compression. And I’m not trying to be deliberately patronising here! It's just an unfortunate by-product of me trying to explain all this. So apologies and please bear with me. Unless you are slamming a drum kit with hard New York-style parallel compression, it is very unlikely to ever give someone “a boner” as you put it. Boner causation is just not the purpose of compression, I’m sorry to say. It really is the 'bass player' of audio effects in that respect. Quiet and steady, doing its job, holding things together; no real glamour or glory. That's a compressor. Great! And you can pretty much stop right there, because you've got it - that is precisely the purpose of a compressor. And helping you sit better in the mix should not be understated. It’s the difference between a great-sounding band and indeed, one with potential to bring about boners. Even amongst the female members of the audience. And that's the part where the misunderstanding sets in. Other than very hard compression, which can be done for effect, there really isn't "any other application" apart from helping even out your signal so that it sits better in the mix. And maybe it's because you expect compression to do something else that you find it underwhelming. It's great that people comment on your tone and they most certainly do so because you’re a competent bass player and you use nice gear. But if you were to give me a bunch of your band's recordings and asked me to mix them, I guarantee there would be moments on each song where your bass is noticeably too loud or too quiet - and this would need fixing if I were to do my job properly as a (albeit unpaid amateur!) mix engineer. I could approach this by trying to automate or ‘ride the fader’: manually adjusting the level of your bass to compensate for loud and quiet notes. Or I could use a compressor to do this automatically. And the important thing to note here is that a compressor doesn't just apply to the solo instrument: it's about helping that instrument sit well alongside others playing simultaneously. It's a tool for helping to mix the whole band; not a tool for drawing attention to any one player. Does this matter in a live context? If you, your band and your audience are happy with your sound, then no it probably doesn't. As I’ve said before, compression is rarely essential, but it's nearly always beneficial. If you’re an obsessive like me, who likes to squeeze every % of quality out of a performance (live or recorded), then yes it matters. And that’s why the bass guitar on nearly every recorded song - and played by nearly every professional musician - has compression applied either at source or at the mixing desk. Such pro players have technique in spades and they use compression: because they want to attain the best sound possible. Does a pub band need to do the same? That's a question for you to answer. But if you're spending good money on your instruments and obsessing over string types/gauges, maple/rosewood boards, etc, then you're already obsessing over things that arguably have a lesser effect on your band as a whole than compression. TL/DR: you can mix your porridge smooth, or you can mix it lumpy. It's still porridge. But if you want to add other ingredients, like some blueberries and bananas, then it's best to mix it smooth for a better overall experience. Simple, right?

I've done it before and, health permitting, would do it again. Why the question..? Is it so hard to 'get'..? Some folks travel half-way round the world to play a round of golf.

Me - cos it always kicks off a great bass chat thread.

Well here I go again - Knowing what compression does to live sound is important and will lend confidence in your performance. It is not primarily an effect that you twiddle with to get the sound you want, rather a useful aid in taming dynamics and giving the audience a better listening experience. However, it tends to be employed, (and I'm guilty of this), as another effect on your sound like an extra tone control. A clear explanation: http://www.studybass.com/gear/bass-effects/bass-compressor-settings/ My plucking technique is I hope such that I can interpret a tune from pianissimo to fortissimo. And I don't want to squash out those dynamics. I use the standard Spetracomp and no other effects. From zero I turn the single knob control, (which I assume to be threshold), clockwise, until I can just hear the effect on my bass tone. The effect I hear is a slight thickening of my sound, it sounds warmer to me and that's the tone I like, warm and full, some would say a typical scooped tone as I also dip the mids. So although I use compression sparingly as an "effect" to get the tone I like, I'm also aware of the primary function of compressing my sound in a live situation which is to achieve a comfortable dynamic range of my bass in the mix for the audience.

It's surely just part and parcel of the proliferation of satellite TV and internet-based entertainment - along with the huge increase in viewing and listening choice, comes the user's expectation of an entitlement to certainty. There's such a huge quantity of available content out there that Joe and Agnes Average expect to be able to see and hear what they will enjoy with minimal risk, money and effort. Less and less people are willing to take a chance on something that's untried and untested. Add to that a generation that's grown up viewing music as a virtually free commodity that they can access on any device whenever they want, and you've got the perfect conditions for the slow death of original live music, and an increasingly difficult environment for every other kind. I'm in the middle of a theatre tour with a soul/funk band who had a number of chart hits in the 70's. We're sharing the bill with another similar act, and most of the gigs so far have been sell-outs. Even last night, on a rainy Mother's Day evening in the midlands, it was 70-80% full. It's a good show, but the main factor that's bringing in the punters is they know what they're going to get. Minimal risk. Even so, the promoter's twitchy about whether he's turning a good enough profit overall, and has cut costs to the bone, so there's no way he's going to take a risk on something that isn't a dead cert to put bums on seats. The guy's been doing it for years, so put someone less experienced in your local pub/club/venue, and you've got a recipe for disaster. Add in the current economic uncertainty, and the big 'name' bands (who make most of their money from touring now) soaking up a big chunk of the disposable income of the remaining gig-going public, and it's no wonder audiences are thin on the ground further down the food chain. It's rather depressing, but I've no idea what the answer is, or if there even is one.

then that is the fault of all of you for not supporting original music. If EVERYBODY played in cover bands, who is gonna write the music for them to copy? Original bands here get more than half a dozen friends, don't be so condescending. Go out and see one yourself, you might hear something new lol

Failed to find a kebab in Liverpool. unbelievably there just wasn't one between the venue and the motorway. Had my girlfriend with me and her 16 year old daughter who thinks kebabbing sounds the best thing about being in a band and had been looking forward to hers all night. The day was saved by the ever excellent Mediterranean Pizza back home in the centre of the known universe, though she couldn't finish it. Bit of an eye opener for the pair of them leaving the house at 5.30 and getting home at 2am, an insight on the work and time involved that goes into a gig. New Peaky Blinders theme show was very well received so all in all a top night.

I agree 100%. That's exactly how I use Spectracomp. 9 o'clock is just perfect.

My lovely old Selmer Treble n Bass 50. Loud as a loud thing.

Bought a bass from Duncan, great transaction, kept me informed every step of the way, goods arrived very well pàcked and exactly as described. Thanks Duncan!

I recently got one of these. 600w into 4 ohms. Its just LOUD, !! warm, and very light, built like a tank. Really cheap if you can find one.

I am getting fed up of these riddles...

Waiting for the hole story....

I don't mind sifting through the options

Is that a serious question??? OK so I've mixed at least hundreds of tracks on analogue and digital and who knows what gear. I have mastered probably more than I have mixed. I have mixed live bands I don't know how often, again analogue and digital. I have used compressors literally thousands of times, digital ones with groovy interfaces, digital ones with just the simplest graphics, analogue ones with multiple controls, analogues ones with odd names for the controls, analogue ones with bugger all controls too :), 'transparent' ones, 'character' ones, fast ones and slow ones. In the context I tried to use any of these devices:- Some of them sounded great. In that they did what I hoped they would do, and sometimes a bit more. Some of them sounded obvious. Which was sometimes great. Some of them were almost unnoticeable unless it was in the mix, in which case some of them I could just about notice, Which was great if that was what I wanted. All of them changed the sound of the track they were on in the context of the mix when they were set up how I wanted them to work, otherwise I wouldn't have used them. Where ever possible I would A/B test them at unity gain with the off signal in order to make that judgement call, its the only way to make the judgement as to whether or not the change is an improvement. So, yes, obviously, or I wouldn't use them ever, and neither would the other sound engineers who know their shizzle.....

It's probably because they are failed, jaded, wannabe rockstars who believe that we are lucky to be breathing the same air as them.

I think you only think you know who he's talking about, and i think he's not talking about the same shop as you think he's talking about

Never thought of that. Ive got plenty grille left ill maybe make something just for that

Not quite the same situation but about 10 yrs ago a mate who I'd been in a band with asked me to help out with a potential new project. He was a guitarist and had linked up with a veteran gtr/vox guy who wanted to get out gigging again after a long time off. I hadn't much on so said I'd do it as a favour. The plan was to initially rehearse with a drum machine (for ease of set up) then get a real drummer in later. He spent an inordinate amount of time getting us to millisecond timing against the drum machine (despite the plan being to use a real drummer eventually anyway) and of the songs he came up with to learn I always seemd to be a bit more up to speed on my parts at the next rehearsal than he was but otherwise he seemed happy enough so we went on for about 5 rehearsals. Gets to rehearsal 6 and before I could fully set my gear up he starts launching into a tirade venting at everything about me from my playing to my tone and finally, the nail in the coffin, saying he thought we would have been gigging sooner with another bass player. By the time he'd finished ranting I'd already packed my gear up on a trolley and just said 'best of luck with it' and walked out leaving my mate utterly embarassed and gobsmacked. My mate contacted me a couple of days later to say the old guy was out of order to the point he had also quit the project. Never saw the old bloke in a band, solo act or even at a jam session ever again.

For certain techniques, a small radius can be hellish, more on a 5 string than on a 4. I had a 7.25" classic '50 P with which I could do more or less anything. A 7.25" 5 string Marcus Miller V7 I had to sell rather swiftly--to small a radius for a fiver. 10" is actually more than fine for tapping and chording. It is of course possible that you would enjoy a flatter radius more, but I think it is really inadvisable to go through such ab invasive mod for such a comparatively small change.

You felt you needed more options? 😱

"Practically unused for 25 years" - Yeah, I wouldn't either. "some cosmetic damage" - how would you tell?

Played a great gig at scruffy murphys in Birmingham last night, we seemed to go down well despite not being too well known outside of Coventry, great atmosphere and sound and I had a blast, bloody warm though...

Just found DR Fat beams on eBay for £4.70 result!

HI guys, Sorry to be about six months behind on this but I came across it while looking up Proamp. I bought a Select 130 Bass head direct from the factory in the 80's. I've still got a copy of the pro amp price list and a factory sales pamphlet. (£194 direct from factory and £296 RRP for the 130 watt head). I gigged the amp for many years and it was totally reliable. Still have it as a back up to this day.

Jim is a great guy to deal with. He sold me his Warwick and the bass was as he described in topic. He packed the bass really good and safe. I had a very good comunication with him and I would love to deal with him again. Peace and thank you Jim!