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new bass day!! On Sunday i shal be taking delivery of this beauty im entirely in love with my Sandy TM5 and im hoping this will cure my precision gas once and for all.

The Mrs just showed me this on Reddit, so I found it on YouChoob to share.

I don't move much either. Unless the invisible bear shows up. Blue

New wife for your 50th. What is this 2 bass nonsense?

I'd just replace the string(s)... but make sure the band plays a song while you do that without bass. THEN when you come in, everybody will realise that YOU, THE BASS PLAYER, is the most important member of the band

I wanted to get a bass from my past from when I started learning to play, & the brand of basses that held a sentimental meaning to me for my 50th last August. I grew up in a town in North Wales which had one guitar shop & was a Peavey dealer & also that my, late Father had bought me a 79 T-40 for my 21st back in 1988 so made my mind up for me. So last July I found a 1992 Peavey Foundation on eBay and even though it had the Super Ferrite pickups like the 80's models, the body & headstock shape just were not the same but I bought it anyway. Fast forward to this February and with help from kodiakblair found a 1986 Peavey Foundation in, good condition from a fellow BC member dave.c which ticked all the boxes. An 80's bass from when I was 19 and the thought of turning 50 was a life time away, I miss the 80's plus as bassists I honestly thought we had it better then than now.

About fifteen years ago, I spotted an ad in our local rag: "Experienced lead guitarist and singer (been playing guitar for 15 years in all styles) looking for others to jam with and maybe form a band". TBH I was a bit scared to call the guy (let's call him Dave), seeing as he was clearly far more experienced than me (I hadn't been in a band since school, but then Jimmie quit and Jodie got married....). Still, he sounded ok on the phone, so I arranged to go round to his place the next evening for a jam. When I turned up, the door was answered by a tall freaky guy, who just stared at me. Eventually Dave appeared behind him and said "it's ok John, he's here to see me". We went downstairs to the living room, and started messing about with a few songs. It turned out that far from being an experienced LG, Dave could just about manage a minor pentatonic scale if he looked at his fingers, whilst his singing was really best left in the shower. Also, there was something about him that I couldn't quite square - he was certainly too shy to ever be a frontman, and he sometimes seemed to be in another world entirely, and then struggled to finish his sentences. John, meanwhile, took up position in one of the armchairs, and stared at me continuously. Eventually John got up to go to the loo, and I decided to make my excuses and leave. Dave said, oh, don't mind him - he's got schizophrenia, so it means he's not good with new people. It's just this house is owned by the council for the six of us to live in. We have a care worker during the day, but in the evenings he only comes round if we press the alarm button.......

A few days after the first Gulf War ended, I was doing CSE forces shows in Kuwait & Saudi Arabia. While having pre gig refreshments about a 1/2 mile from the gig (Kuwait), we heard a rather loud explosion. A sergeant marched into the mess, then informed us that the show wouldn't go on. He shouted out at the top of his military voice, with a sh*t eating grin, that the Stage and all the hired equipment had gone up in smoke. Amazingly & stupidly, the Stage had been erected near an ammunition dump, which indeed, had gone up in smoke....You could tell by the look on the face of the Sergeant, that us wimpy musicians, should have gone up with the stage as well. The turn was an Impressionist called Bobby Davro, who minus the band, then offered to tell gags to the troops for some kind of entertainment (no mic - shouting at the top of his voice). He went down a (Desert) storm for making the effort, while we got smashed on some home made wine some French SF's troops had given us. (So, not a complete disaster)

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That is pretty well the shape I want, now Make some holes for the machine heads. I have some but not sure if I have the surrounds for them

BTW folks, heard word from Tech21 on 'that other forum' that the XLR 'is darker' than the main output, as per Dug's specs. Whether this means there is no speaker sim at all on the main out, or just a brighter one, remains to be seen! Just for those folk sending the XLR to the desk and the main out to your FRFR wotsits, you won't get exactly the same tone out of each.

Actually, now you mention it, it might have been in the Meadows and not actually in Clifton. I think the thing those venues had was a) respect for the performer b) the need to put on a show and not gaze at your shoes, scratch your derrière or argue amongst yourselves between numbers

Pahahahahahahahahahahahahahah... *cough* *splutter* *cough* Ahem... Pahahahahahahahahahahahahahah... Nice bass though!

Oi you lot! Get back on topic! I want my dUg pedal!! wa-wa-wa-wa-wa

Thanks all for the kind words & feedback! Looks like it was worth while after all

I use both octaves for very different reasons. the broughton is very much a synth tone generator. its a great sounding OC-2 esque, amazing tracking synth pedal. The aggie serves a different purpose all together.... Its more of a blended octave down copy of the input signal...but the original signal has a lot of the lows reduced, and the octave down has them more pronounced. The GR2 is used almost exclusively with the 2nd mastotron in its loop. Its the core of so many of my sounds because it just sounds fantastic. For funky fingerstyle the Mini Mu is my go to filter as its the fattest/quackiest ive come across yet! the manta is used if i need something more complex for dubstep style `wabs` for example. The bananana hasnt been incorporated into any of my songs at the moment so diddnt make the board. yet!

Nottingham 1973 This is a band audition tale... At my first" day release " at college ( I was an apprentice plumber) I met two guys that wanted to form a band, we arranged to meet at the rhythm guitarist's garage on the following Sunday. It went well enough we just needed a drummer. I volunteered my mate who had driven me and my gear to the audition.....he had never played drums and didn't have a kit but as the rhythm guitarist's father was a resident drummer at a local working men's club, we could use his kit and rehearse in a the fabulous function room that wasn't used on a Sunday afternoons. Sounds like a recipe for disaster yes? ...not a bit of it ,Dave took to drumming like a duck to water, Six weeks after his first go he had bought a kit of his own and we did our first gig...Market Harborough Working men's club, 3x 20 mins sets, with our armoury of 12 covers...and we got paid £29.00, ok we did have a few requests to "play this song again" to get through, but no one complained. This was in the days when even a rubbish band like ours gigged at least twice if not three times a weekend; a half decent band could gig five times a weekend and pick up midweek gigs. We pottered along for six months but the (almost inept) lead guitarist/lead singer just didn't improve, in fact he got all "rock star "on us and kept missing practice without letting us know and turning up drunk for gigs. We decided to replace him, unfortunately everything came to a head at the Friday night gig of a three gig weekend and the Saturday night gig, at a pub in Chesterfield, was an audition for a new agent. Being young and brave we didn't cancel, we phoned around and got a friend, who was in a much better band than us ( they were having a weekend off), who was much more experienced than us, to come and fill in for the weekend. We ran through some songs on Saturday afternoon and everything sounded much better than before, although we needed to juggle the set list to suit his knowledge of songs and hurriedly learned a few of his favourites. When we did the gig things went very badly wrong (what a surprise :-) ) the new guy just point blank refused to turn his guitar up and wouldn't sing close enough to the mic to be heard...we missed all the cues fumbled through a few songs and after the first set decided that he was being a p*ll*ck and told him we would manage without him, we re- arranged the sets ,leaving our best stuff for the last set, and gamely went for it. During the break before the last set the landlord came up to us and paid us saying "here you are lads, don't bother going on again" We packed away in shame and drove home in silence. The new agent never spoke to us and we cancelled the Sunday gig. Rock and Roll chaps......Rock and Roll. Edited to add.... I now tell my kids and friends who complain about me "singing" along to the radio etc... "Hey I have been paid to sing and I have been paid not to sing....what have you done? "

I've used black, white and copper nylons from La Bella. Absolutely superb strings. Smooth, low tension but high gauge so you can really dig in. Last a lifetime. The white nylons remain my string of choice for fretless.

Yep, this is so true. And, at an audition, NEVER tell the keyboard player he's playing a wrong chord - even if it's clearly wrong. You'll never get the gig - you're a threat. And always look for the positives in any of the players in the band you're auditioning for - a couple of gentle favourable comments can work wonders. "Hey, Mr drummer, I like the way you didn't speed up in that number" Wow, that guitar solo was REALLY loud - I love it when my ears bleed like that!"

Wow. Didn’t realise they made these. I had a Battering Ram 2.6 (effectively the same pedal, minus EQ) and had it not been for it’s awkward size and shape I may well have kept it. Very cool pedal and bucket loads of bottom end in the overdrive I found. In fact, it held more low end than any other overdrive I’ve owned, before or since

It's a Wounded Paw Battering Ram Q. https://www.woundedpawaudio.ca/fx/index.php?main_page=product_info&cPath=1&products_id=29&zenid=99a32393a9736460d2ca46ea79dfc03f I don't even like fuzz pedals and this is genius. Truly. Genius. The parametric EQ is great. The distortion in parallel with the fuzz and octave up fuzz is brilliant. Very flexible and just great. In that respect better than Darkglass, but the sound is very different.

t's not going to happen. I'm still trying to get the band to play songs that were written this century. I don't think any of them know what in-ears are.

...in Dobbly, presumably

I was interested to read elsewhere in this parish of drummers who use metronomes in practice and on stage. These are of course gigging musicians. I hesitate to use the term professional since its meaning has been severely diluted in recent years and it does not serve well for this topic. To me it makes sense for the drummer to use it as opposed to the bassist but since both roles are crucial for the rhythmic drive of a band, others may have an alternative view. I am referring mainly to the use of metronomes (as opposed to the click) when performing. I assume that no bassists do this on stage. Correct me if I am wrong please. ***** At home, I am very weak willed when it comes to practice with a metronome. I have a few of them. Most of them are bundled with tuners in pocket sized devices powered by battery. To access either the tuner or the metronome functions I have to press and hold a button for a few seconds. Further, I have to cycle the time signature options and if I miss the one I am looking for, I have to go around again. This is so off-putting that I seldom bother unless I have a specific reason. The result is that I don't spend enough of my practice time with a metronome. It's shameful of me to be so neglectful. This morning I have taken my grandfather's (latterly my father's) clockwork metronome off the shelf and I will put it in my practice area for easy access. Standing alone and with no other responsibilities than to keep time, I am optimistic that I will use it more than the others. My tuner need only work as a tuner and its nested functions can rest in peace forever. There are no wires or batteries, just a winder for the mainspring in the mechanism. I have removed the excuses that bundled devices allow me to get out of jail with, so to speak. I am optimistic that I will get more use from this metronome than the others. It's also a lovely bit of kit if all I ever do is look at it. Wish me luck. PS: I'd love to see one like mine being used by a drummer even if it is out of sight of the audience. Then again I would like to see a world united by peace and the pursuit of a Winter home in a new solar system. Silly me.

Hey folks! Ok, so ages ago I promised (and let the side down) that I would re-do my TC Electronic Sub n' Up patches and share the settings with you. Well, ok so it didn't happen and I ended up finishing recording the biggest album of the year instead* So, in an attempt to pull my finger out (and take six months to complete this task) I want to see if we can emulate the sounds of some of our favourite Octave pedals using the stonking Sub'n'Up pedal and it's deeply delving TonePrint Editor app. Here's what I need: The sound of a dry bass recorded through the octave pedal of choice direct in to an interface (no amp please). Preferably with a P bass or J bass with all controls all the way open. I want to hear dry only and wet only sounds and a 50/50 mix. Wav files would be ideal but 320k MP3 of course would be a smaller file size. I'll then see what I can rustle up this end - and hopefully if I do finally get a new camera, a nice video to go with it too, like my bass chat review vids. What do you all think? @Al Krow I know you've been very patient! Dooooooood. *give it another 8 months, maybe!

I just had to have a bloody go on the configurator tonight didn't I....... 6 numbers Camelot - that's all I need....... you can do it!! 😆

`Twas a no brainer for me, I had the lovely chaps at Alpher build me a Cobia 5 string (still the only one in the world), my choice of everything and the serial number is my birth date, cool as you like!!

Thank you for all your good wishes for my recovery. In a bizarre stroke of luck, the PA pole fell in such a way that, with my back to it (I was adjusting my amp), although I didn't see it coming the speaker missed my head and the pole fell against my shoulder. Comfortable it was not, and you can hear Silvie shriek my name to warn me since it really did look lethal, but in fact I was completely unharmed, Paul the Drums leapt up to take the PA back upright, and we launched straight into Delilah.

Back in about 1990 we were playing the Powerhaus in Islington. So we soundchecked, everything was excellent so we thought we'd go for some food. There was an Indian restaurant round the corner which had an all-you-can-eat buffet. Being relatively skint we thought this would sort us for the night and probably for a big chunk of the next day. So we ate all we could, then a bit more, then a bit more to make sure. It was very tasty, but we were definitely sated. In fact we were the past-participle-future-pluperfect of sated, Satan! We were so stuffed it took us about 10 minutes to wobble the 200m back to the venue. Then we sat there very quietly... When it came time to go on stage we all took chairs, played very gently and moved as little as possible in the hope that none of us would cover the stage and audience in part digested Rogan Josh and mango lassi. Funnily enough, the audience seemed to enjoy it; we were quite a raucous punk-funk band, known for wearing daft costumes or being painted as we played so they probably thought it was our latest stage gimmick! Needless to say, we didn't do an all you can eat buffet again before a gig...

I actually have my b2 with me at every gig - only used it on one audition but paid for itself then!

Theatre gig, years ago.... Original material. Quiet, attentive audience. During a solo, our frontman / acoustic guitarist decides to relax a bit and lean against the wall at the side of the stage. Only... it wasn't a wall: It was a curtain, masking a four-foot drop onto various bits of technical kit hidden in the inky blackness of the wings. He barely missed a strum, despite the bruising and the broken ribs.

Ditto.... in fact I've just kicked a couple of people out of auditions for that line. If you can't be bothered learning the songs for an audition there's no chance you'll be committed learning songs for the band.

Another vote for Zilla. I've had 2 of their guitar cabs and they've always been excellent. They did have some email issues a little while ago. Pick the phone up. Paul is a great guy and easy to chat with about exactly what you want.

Nonsense, that's 'mojo'. Leave it as it is, or you'll reduce the value.

plain black or brown tort I tort I saw a meow meow cat.......realy? we can't say p u s s y cat?

I do - it's the one in my head!

Big board update over the last few weeks. Synth voice, corona, spectracomp and hardwire reverb in... Empress comp, xerograph sa reverb out. Mounted the spectracomp and broughton high pass under the board to save space and they act as in and out terminals. Works great!!!

I think I've got the pickup out of one of those in a bitsa. It would probably be good for metal, if I played metal.

Tru, dat. Back in the day some engineers would have me turn down to the point where my Ampeg SVT-CL and 8X10 were basically a very large stage monitor. Cracking sound out front, though.

Make sure that you try changing your £1000 bass for your £50 Sue Ryder too... and ask the audience again.

Cue a very old muso joke: How do you know when it's a drummer knocking on your door? ...........the knocking speeds up.

Our drummer *is* a metronome. His tempo is so consistent I was recently able to mix and match bits of the multitrack from three different takes of the same song. Was impressed.

Just trying to set up the bass now and realised that the bridge is about 4/5mm out of alignment with the neck (I don’t quite know how that has happened I checked it 3 times) so I need to sort that out and shim the neck a little bit Here’s it all string up.......

Put the video up on here, we can give it marks out of ten.👍

Sunbeams are the only strings I use nowadays.

!!!!! Look what arrived

I'm a touring sound engineer and also run a production company that supplies fancy-pants function band agencies with systems and engineers, and I can confirm that this is an utterly daft setup you're running. If the only reason he can manage is that you don't have enough monitor mixes on your desk, sell one of the two pairs of tops and your current desk, buy one of the raft of relatively inexpensive tablet-based digital mixers that are now available and have plenty aux outs (or a used Allen & Heath MixWizard, if you're of the strictly old-school analogue persuasion, as that'll fit in a standard 19" rack width and do six aux outs). Ten years of band-leading doesn't automatically mean he's got any idea at all about sound reinforcement.

I believe the guys from Zilla are currently on holiday/recently were (Facebook) That may be the reason for the lack of response.