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An ex-colleague from the '3 Elephants' festival days was organising a private party (we've already played at mini-festivals he'd put on...), and invited us to play as support for a rock'nroll trio. A couple of rehearsals (we've not played since 2016, as I've been ill, and other stuff...) so a bit rusty, but still... As if conditions weren't precarious enough, our 2nd guitar has taken a contract for four years in the Caribbean, so this was to be his last date with us..! We arrived an hour early, giving plenty of time for setting up in a well-adapted agricultural outbuilding, the size of a small cathedral but open on one side. A decent PA and efficient, friendly sound crew, simple but effective LED lights and spots, so conditions were quite comfortable. One slight but significant bugbear: the tom mics had a longer than usual overhang, and protruded over the batter heads, making it quite delicate when executing stuff like 'Toxicity', for fear of hitting 'em. A bit more than an hour in all, to a mixed audience; we managed to warm 'em up enough for the main attraction, though, so 'mission accomplished'. Got home at about 02h30; we'll unload the truck in a while this afternoon and discuss how we're to continue. We've a new 2nd guitar to talk to, but I'm not in any real state to take on a world tour, so we'll be taking things easy for now. It was great, despite everything, to get out and play again after this enforced hiatus, and well worth the sore arms and calves..! Next outing..? Hmm... Maybe towards end of year; we've a date pencilled-in, but we'll see... I may get some pics later, if Juliette remembers to send 'em. Edit: Photos added ... The 'tour bus' for the occassion (Merci, Monique, for the loan...)... No, I'm not asleep; I'm setting up a drum stand, honest... Our departing 2nd guitar, sound check ... ... and again, chatting with our singster ... Yes, that's my 'relax' session before we kick off ... Our Eldest ... ... and the singster, errrm... singing ... ... and a couple of (very..!) short clips from a 'phone (thanks, Juliette...)...

A darned shame, as they were/still are excellent polos; I wear mine often, and it's still as good as new. Real quality stuff. I'm biased, perhaps, but I'd recommend going for quality stuff over stuff that just 'sells'. Just sayin'.

I think you're in danger of spreading yourselves too thinly. I've been taking to Akio and have suggested a rough format along the lines of: -News -Interesting threads this week/month -Interesting items for sale this week/month -Topic of the week/month (short scales - why?... Graphite - all it's cracked up to be?... How to use a delay pedal... Overdrive on bass... plectrum - yes or no?....) -Answer Qs sent in about previous show -What's the question next week? send any questions to... -end (total runtime about 60 mins) I'd suggest to begin with not having sound clips and samples but just keep it to two people talking clearly about the issues at hand. Like being in the pub. Sound clips and so on (if recorded) could be added as downloads perhaps in a dedicated podcast thread which would be closed to comments except by the team. Anyway that would be my suggestion.

I think that would make an excellent feature. You can find all sorts on YT illustrating the differences in tone from changes in the control settings to the differences in pick and fingerstyle sounds. With our podcast being audio only it removes the distraction of the talking head. The sound samples speak for themselves. We should look at doing some A/B samples in a controlled environment such as a recording studio with a Basschat version of The Stig - free of charge preferably...

Seeing as the recent thread on playing with a pick became pretty popular and interesting, how about discussing that, with sound samples? There are plenty of other threads too where peeps are describing differences in sound, and having actual audio would be a real advantage. Even something as basic as comparing the characteristic sound of a P and a J, and explaining why they sound as different as they do, and suit different types of music. (And therefore why almost all Fender bands play either Tele and P or Strat and J.) It never hurts to hear simple things that you sort of know, explained well.

After several years of gigging with just bass, lead, amp, cab and band, I started to get into the slippery slope of pedals 15 months or so back and wondered whether to go down the multi-fx vs dedicated pedals route. I came to the conclusion that multis, other than the really high end stuff, were not bad and a great intro into particular effects but couldn't really compete with dedicated pedals, particularly in the 'harder' emulation stuff e.g. synth, filter, dirt, polyphonic octave up but were pretty decent at some of the other 'easier' stuff e.g. delay, flange, chorus, tremolo, with compression and octave-down somewhere in between. I ended up getting a couple of the more budget Zoom multi-fxs (MS-60B and B3n) and a bunch of dedicated pedals. Then the Helix and Helix HX came along. They are hitting the 'definitely good enough' level for a lot, but not quite all yet, effects - and let's face it in a live band mix the audience is not going to notice the last 10% difference between what the Helix is doing and a dedicated analogue pedal on those effects where the Helix gets close - I know that is still not all of them. Importantly (for me anyway) the HX is also not much more than the cost of 2 or 3 decent analogue pedals. I'm now working with a couple of guitarists (one who regularly deps for us) in a function covers band. Our main guitarist has a traditional analogue pedal board & Roland Blues cube amp; the dep has a Line 6 Helix ('full fat') and a relatively cheap Alto FRFR. The overall costs of their gear are about the same. I love the ability of the dep to programme his effects and have everything 'preset' for each song and effortlessly reorder if we decide on a different set list content or order. When it comes to linking songs our 'main' guitarist will be switching pedals on and off, faffing about tweaking knobs and in terms of song 'flow' spending around a minute between songs. Might not sound like much but if you have a dance floor audience it's not what they want. One of our BC'ers posted his board recently with a Helix HX and I'm rapidly coming to think that this is very much looking like the 'future' for live music; if so is the corollary for live performance that analogue pedals have had their day?

I didn't know I was going to play it?

I bought a set of Gotoh GB640 res-o-lite twiddlers for my thunderbird and got around to fitting them today. In my haste I think I could have fitted them a little straighter so I'll probably refit them at some point but I'm very happy with the classic vintage-cool 'long stem' look. The stock Wilkinsons were OK but in addition of look much better these are lighter and smoother. This GB640 set tunes the standard way, but there's also a GBR640 set which have reverse gearing like vintage Klusons and other modern versions that look like Klusons. Another difference common to the GB640 & GBR640 is that the baseplate fits flat without needing to drill dimples like you would for original vintage & vintage replica versions. They are made from something called duralumin alloy and weigh just 67g each.

Go for it. Might have started life as an HB but it's evolving to suit your taste. Doubt you'd be thinking of swapping the neck if you'd dropped £600 on a bass,chances are you'd just sell it. This way you're getting exactly what you want in small stages.

Well... I've got this far, I think I'm going to go all the way. The HB neck is 14" radius (or more accurately 350mm), which is a little flat for me. Also I'm getting a bit OCD about the headstock, as I was a bit too, er... enthusiastic in the reshaping. The whole thing is about 1mm too small all round... This isn't about budget basses any more - if I replace the neck it really won't be a Harley Benton. I think I may go for a Northwest Guitars one-piece maple neck (9.5" radius), they seem to be great value... and take the opportunity to change the finish... again. Stand by for 'Modding A Bass That Has Already Been Modded TWICE!' I thank you.

Does in my book.

I dont know why people are always surprised that you can buy the stickers online in pat test threads, I'm sure I could buy some surgical scalpels but that wouldn't make me a surgeon either.

Anythings possible, but I'll just give you a rough idea of things; At present on @ped's recommendation we have 6 segments not including an intro/outro. That's 5 roughly 10 min segments and a 20-30 min feature segment plus a 45min to an hour interview. In half an hour there wouldn't be time to say anything meaningful about much of the content we have to work with. The majority of podcasts in the charts are 2-3hours an episode, my personal approach would be why split what the listener can pause? Podcasts are a long form media, especially if you're including some form of interview. What real insight can you get into a topic or someones' mind and body of work in a 3-5min sound bite? Which is what we'd be looking at doing a half hour cast.

We played Moon Rally, a small biker event at a holiday park in Penarth. We were last on of three bands, due to start at 11:00pm but due to the inevitable overruns it was about 11:30 that we finally got going. This was only the second time I've played at an event with a provided PA and sound man (well, third actually, but on the first occasion the PA was a couple of underpowered and over driven 12" tops and the sound man was more clueless than me, but that's another story...). As we brought our kit in the sound guy grabbed me and told me that I'd best set up at the left hand side of the stage as the sub had just failed on that side. I suspect it's not often that the sound guy tells the bass player "turn up as loud as you like, and I'll balance the rest of it with you" ! Then after about half an hour of playing all the power went out - I think the main PA had blown a fuse and tripped out their circuit breakers. Power came back on after a couple of minutes and we started up again, not really knowing what was going on at that point. Sound guy comes over after the next song and tells us it's just our backline and the monitors still working, so we just turned the monitors around to face the audience and carried on playing. The main PA did get restored after a few more songs, but the sound guy seemed very impressed that we'd just got on with it in the meantime, which left me wondering what bands do in that situation - flounce off?! After we'd finished the guy came over for a chat - he'd miked up one of my cabs (Basschat 1x12 Mk 1s - calling @Phil Starr...) rather than taking a DI and was hugely complementary about how even the tone was through the range. All in all a good night - got a great reception, had a good time, and didn't have to pack up the PA at the end of the night!

I like that. If the podcast is to stand alone it shouldn't link out to stuff at all. We already have the forum for that and if non-member listeners want to find out more, they're more inclined towards signing up. I had 45 minutes overall duration in mind for some reason.

Don't have enough space or time to contrast and compare my amps. Plenty of good reviews and youtube clips about but a quick summary. Edit: I have been using Markbass Cabs for over 10 years and more recently (last 5 years) Vanderkley or Barefaced with all the Class D amps mentioned below. Have used MARKBASS SA450 and Little Mark 500 for around 15 years, both excellent amps, the SA450 no longer in production. Little colouration so sound of bass very evident. Lots of tonal choice and VLE and VPF controls are great. Plenty punch and power. No mute Switch. Good DI out. Good value overall. GENZ BENZ ShuttleMax 9.2 and Streamliner 900. My preference is for the Shuttlemax which I have been using the most over last 5 years or so and I marginally favour over Markbass. Great sound, two channels, loud , punchy, excellent DI out feature laden but which I very rarely use. I find my Shutttlemax cuts through mix better than the Streamliner which is a great simple little amp particularly for warmer older school sounds, three valve preamp and far less features than the Max, Sadly Fender pulled the plug on the amazing Genz Benz range over 5 years ago. I have little doubt that the GENZLER MAGELLANs are excellent just waiting to try one out. GK 500MB, bought as a back-up, but excellent amp as first choice. More colouration than other amps here with a distinctive GK sound (which I really like), seems very loud for a 500W amp.great overdrive and boost. High end can be a but hissy and a little noisey Good DI. Great value for money. Phil Jones Bass D400 with C8 cab. I love the PJB stuff of which I use a variety and the D400 is most recent. Excellent clean HiFi sound, great for studio and practice. Nice low B for such small drivers, excellent for acoustic instruments. PJB gear does cut through the mix nicley, but to even begin to compete with other amps here and loud drummers here one would need to consider the D1000, which is close to a grand! SANSAMP RBI and CROWN XLS 1002 power amp. Great set-up, classic Sansamp grit for Ampeg-like tones, 1100W of power.but getting into rack gear here. QUILTER BASS BLOCK 800, Portability, great tone punch and power at a very competitive price, only Markbass and GK come close at this price point. The Depth and Contour controls provide all I ever need.( Siimilar idea as Markbass VLE AND VPF). I was very pleasantly surprised by this little beauty at under €500!! The QUILTER DI/line out is great and DOES vary with Gain and Master volume. Not overly impressed with T.C ELECTRONIC great fun TONE PRINT stuff but sound a bit synthetic and under powered to me. Had two combos, both with unusable humming DI outs!! Have gigged with HARTKE gear nice punchy sound, like the old HA3500, if it didn't weigh a ton. The new TX600 is nice but seems very quiet compared to GK, QUILTER, MARKBASS etc. Used an AGUILAR TONE HAMMER 500, very good indeed, nice gritty punch but cost quite a bit more than the QUILTER. I started out 45 years ago, with HIwatt 100, then Fender Bassman135, and then Acoustic Control Corp 220/406 which was my favourite. Have used HH, Peavey, Laney, Trace, Carlsbro (less said the better), but am now firmly in the Class D club, for portability as much as anything. In summary the QUILTER is a USA built unit that should be seriously considered by any player. BTW I have no connection, allegiance or affiliation to Quilter, but think I know a bargain when I see one. Hope my self-indulgent ramblings are helpful. Cheers

Some of the new finishes look nicer than the the 'Pro' range! I saw one over on TB, a new limited edition MIM that was (I think) Ocean Turquoise/Tort. It looked the dogs' danglies! 😍

Bit of a story to last night's gig. My 'fledgling' Bon Jovi tribute band are still looking to do as many gigs as possible, so when the agent offered us a weird one a long way away we decided to take it. Described to us as a 'mystery celebrity' having a 50 year birthday bash for which he was hiring the Meridian Showground in Cleethorpes, big covered stage, 3 tribute acts - we were headlining etc. We are based in south Essex so it was approx 4 hours away. It was thought that there may well be lots of other celebs there and it could lead to other things, good exposure etc (yeah, I know ). We were due to start at 9:15, play 75mins then fireworks. We shared the drive in two cars, arriving in plenty of time to a windswept open space with bouncy castles, face painting, fairground rides.... it transpires that the mystery celebrity was in fact Total Fuels, celebrating the 50th anniversary of the local refinery with a family day. So not quite as advertised... the promised 'big covered stage' was just a smallish marquee that, at a push, could have housed maybe 200 of the 800 or so people that were spread over the site when we got there if the weather took a turn for the worse. And my God it did. 10 mins into the first act - a Little Mix tribute - the heavens opened and it absolutely hammered down. Some people sheltered in the 'main arena', most in the similarly-sized cream tea tent. Groups of children ran around, jumping over the soaked hay bundle seating. The occasional drunk ran through the rain, aeroplane-fashion with twinned beer cups aloft, to the beer tent for refills but soon even they got drenched and bored. Small lakes appeared on the grass, the rides packed up and left, pulled pork and burger baps remained uneaten. People left in droves, some returned with coats, others didn't bother. The Little Mix lot overran. Next band were a local pub band. They were late starting and also massively overran, playing perhaps a 70-80 minute set. However, the rain had stopped by then. They then took a staggering 25 mins of our 30 minute change over time to clear the stage - the drummer had augmented the provided kit with a whole bank of extra toms, cymbals, fan etc - each of which were then fastidiously packed away with smoothed out bubblewrap packaging into their boxes all over the stage. We set up without sound checks in record time but were still so late we were left with just a 45 minute slot before the fireworks. So an 8 hour round trip for 45 mins playing. To be fair the 100 or so stalwarts who remained to the end gave us a fantastic reception, we played well and got handsomely paid. I then slept and snored all the way home. Luckily I wasn't driving.

This ^^, with the addition of two more, very important factors: the equipment used for listening in (ear-buds..? Car stereo..? Full home hifi..?), and the biggest of them all: the nerdiness of the listener. Those expecting 'absolutes' from a BC podcast (or BC in general, or the interweb, or even Life itself...) are likely to be underwhelmed. For anyone else: relax and enjoy.

An hour flies by, trust me. Especially if the podcast wants to be relaxed and conversational. Listen to the podcast I posted earlier. Two guys talking about watches with a rough theme each week. Buy you wouldn’t set an actual time, just a rough idea about how long to chat in each section. The idea with the companion sound clips would be so presenters could say ‘check out the clips if you like’ so you can hear them another time. Otherwise it would get complicated to edit to begin with. Again, the podcast I posted they say ‘see the blog for the pictures of the watches we’re looking at today’ How often do people post sound clips here? Rarely. You wouldn’t want to go out if your way to attain them, and then what sort of quality? Nah keep it conversational, relaxed and uncomplicated before anything else creeps in.

I totally agree. For the first pilot I think it should stay focussed. My DB suggestion was really throwing an idea into the pot for the future if it takes off - which from reactions so far seems very positive. (That's why I posted in this thread rather than the questions thread)

Hey guys, really looking forward to this Podcast! I currently listen to the Practical Bass Pod which is great, but it'll be fantastic to have a pod from this side of the pond at last. My question is based on my own experience when, pretty much overnight, my right hand technique was taken to a completely different level when 3 finger plucking added to floating thumb clicked. It was an almost instant transformation and from that moment, totally changed how I play. So, what have you guys learnt that's had the biggest impact on your playing? Doesn't have to be technique, could be gear, strings, strap length... anything really! 😁 Cheers Steve

I agree. In fact I'd go as far as to say that the double bassists mustn't get left out. Perhaps we should co-opt a double bassist onto the podcast team?

It's a good question. However, I'd rephrase it so as not to give the impression that it is the only bass in the village. For example, why is the Fender Precision so popular? Does that cover it?

It would be nice to have a bit of a double bass discussion from the uprights amongst us. I'm sure there's a few db-curious on BC

So spent quite a bit of time with these ZS10s. Quite a different sound to what I’m used to. Warm, with not a particularly wide soundstage (blocking the port makes this worse) with the recessed upped mids and treble clearly audible. So whilst I don’t particularly dig on them for casual listening of music, this trait could be quite favourable for onstage use as it will keep your ears fresher for longer. Having said that, I do like the warmth of the dynamic but I do find them quite a fatiguing listen generally - but I think that may be down to the mid range bloom. What I will say though, for the money - great. This or a 215? No competition. And if you think that this whole setup is comparable to the cost of an entry level cable from the big boys... not a bad thing to have in the spares bag either!

Yes indeed. Pity it's still going to be played by a hideously deformed oaf.

My Yamaha Bex4 sounds wonderful whatever I plug it into. I've always liked the playability of Yamaha basses and loved the look of the Bex4, especially the tobacco burst one, so snapped one up when it appeared on here. It had the same soapbar as in my BBG5s in a P position and a underbridge piezo so I reckoned it would sound alright but I'm blown away everytime I use it. Our soundman thinks it's the nicest sounding bass he's heard. Less than £300 as well.

From Wiki - In the UK, there is no requirement to have a formal qualification for persons carrying out PAT Testing. The Electricity at Work regulations of 1989 simply state that where required, inspecting and testing must be carried out by a competent person, however does not mention a benchmark for competency. It has become accepted practice, however, for individuals operating as PAT Testers to hold a 2377–22 City and Guilds qualification. PAT Testers in the UK do not need to be electricians or have a background in the electrical industry. An example of a nationally recognised qualification of competence in PAT is offered by City & Guilds: 'Code of Practice for In-service Inspection and Testing of Electrical Equipment – 4th Edition (No. 2377)'.[13] although there are others provided by EAL available.

Putting the call out to all our musician friends. The Three host a jam night most Sundays 6.30 - 9.00pm at Bar One Ten, Elliot Street, Tyldesley, M29 8FJ. Musicians - please share! Why not bring your band down to do 3 or 4 songs to a good audience and maybe get a Saturday booking at the venue? Want to get up, but don't have a band? If we know the song, we'll play it with you. We have folders full of lyrics and if you message me in advance, we can maybe learn some songs to back you on. Bands welcome. Your chance to rehearse those new songs in front of an audience and have a few beers, too. All acts get 3-4 songs, then the next act goes on, and so on, and then we will go around them again. We want everyone to get a turn. Come on down and make yourselves known to the host band and we will get you up, **guaranteed**. Quality back-line amps for 2 guitars and bass are provided, drums and PA for three vocals is in place. We carry spare instruments for use, but you can also bring your own. All we ask is that you have some idea of what you are doing before you go on and don't hold a conference onstage, as it eats into other people's time. Also. please watch the other performers when you have done your slot - it's only polite to do so.

Here you go, AT - https://www.talkbass.com/threads/nbd-mim-precision.1349619/#post-21443757

Bet they have a Warwick Dolphin in stock then? Note: For comedic effect I used the word 'dolphin' in the full knowledge that is actually a mammal.

Chiming in late here, but I'd fully recommend the TC Sub'n'up for this. I use mine exclusively for octave up. It replaced a Nano Pog on my board. It can do everything the Pog can do, in the same form factor, for a fair bit cheaper. It's also true bypass, if you care about that sort of thing. Interestingly the tone in 'poly' mode is quite different to the Pog. When you use the octave up only, you get loads more bass and low mids. This makes perfect sense when you think about it - e.g. on a low E, by applying an octave up, you are 'doubling up' on all the low harmonics (82hz, 164hz, etc). So perhaps the Subnup gives a 'truer' octave up compared to the Pog. Unfortunately, that sounds way too muddy in my opinion. I realise that EHX have voiced the Pog octave up to be quite 'thin' sounding. This sounds great when blended with the dry - the two voices are nice and distinct. So I made a tone-print exclusively for octave up. It slices off all the low mids / lows from the octave voice (HPF set at 400hz or something). I then reassigned the Sub1 knob so that this is a 'Tone' knob (variable LPF affecting the octave up voice only - got the idea from the Digitech Mosaic); Sub 2 is reassigned as a drive knob (affecting the Octave up voice only as well). Super versatile, and awesome sounding. Sounds pretty similar to the Pog with Tone all the way up and Drive all the way down. But by varying those knobs you can get a load of other great sounds. However the real icing on the cake is the 'classic' mode. This gives you an very cool, synthy-sounding (think OC2), fully polyphonic octave up. I don't know how I never thought to do it before, but I've been grinning ear to ear since I made the discovery: I tried running an actual analog octave down (Octabvre in my case) into the Supnup octave up on 'classic' mode... synth heaven!

As per my recent status update, I’ve had a steep learning curve with iMovie and syncing together video elements with sound files. It’s taken me a couple of hours a day over a few days, but I think it’s coming together nicely. There’s still a couple of tweaks I want to make, but any suggestions/critique would be welcome. Edit: Made a few changes, moved the title card to the beginning and put a new one at the end so they all have the same format as they roll out.

Thank you, I will try this and tell the results!

I came across a photo on Instagram last week. It was a photo of the dashboard of someone's truck in America, they were off on a road trip. It showed a pile of cassettes in front of the cassette player, one of them was mine, which was kind of nice. my Mom and Dad were happy.

I'd agree that an hour sounds too long. 30 minutes should be about right. Keep the topics short and snappy and everything moving along at a smart pace. My favourite podcast is about 40 minutes long but once you've removed all the advertising and credits theres about 30 minutes of actual content.

I’m very much in this camp, however taking a closer look at the Helix family in particular has made me realise that Yamaha/Line 6 put a LOT of work into creating a user interface which is almost as simple to use as individual pedals. I’ve watched several demo videos where the “presenter” has just received the unit and is effectively working it out on the fly, yet they are able to set up patches quickly because it’s just so intuitively laid out. To be fair it’s never going to be as simple as a small board with a handful of analog pedals, or something like a Tech21 Fly Rig, but that isn’t an apples to apples comparison. To be able to match what the Helix (and similar systems like Headrush etc) can do in terms of number of available effects, routing options, inputs/outputs, you’d need a board the size of a dining room table for six. Example provided below

I like Fenders, but this just seems a case of some new colours and putting a spaghetti logo on the headstock instead of the cheap looking black one and increasing the price tag. The only difference I can see is the claim that the bodies are hand finished to original specs, so basically you're paying a bit extra for someone to sand bare wood.

They've been popping up on Radio 2 as well, recently. They've clearly passed me by before, but really like this stuff.

To quote my 6 year old “that song’s pretty cool... the one with black in it” And thanks for the kind words. KotS

Tried out the new pickup at rehearsal last night - works very well. Even got positive comments from the band...

They were on the Hootenanny last new year, the live performance of Tilted was spellbinding.

Neat! And anyone with a Chase Bliss pedal on their board deserves a 'like' (not least on the grounds that it probably cost as much the rest of my board put together 😁)

Welcome. Don’t do what I did and spend the next thirty years playing full scale bass without trying a short scale. Go to a decent shop and play EVERYTHING. Make notes about which you like and which you don’t then come back here and see what’s for sale that’s similar, or post your findings and I’m sure some of the experts here will let you know what’s good and what’s not. I just bought a short scale Squier Jaguar and have just got back from a my first lesson using it, it’s a great bass in my book. So if I were you I’d take the advice from the good people on here but, in the end, you pick which bass just feels good and right to you, never discount that feeling just because you are starting out. I’d say it was fifty fifty, half good advice, half the personal vibe you get from the bass.