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I just use Songsterr ... and of course I never just screenshot their stuff page by page, paste into a Word document and print out.

Had two gigs at the weekend with the Stones trib band that I regularly dep with. They've recently had a line up change, including adding a second guitarist. Saturday was his first outing with the band and the drummer (a good friend of mine) was also a dep, playing with them for the first time. We hadn't managed a rehearsal all together. So Saturday was a bit ropey tbh, and although the punters seemed to enjoy it, I shall draw a veil over the details of the evening. Suffice to say it wasn't my finest hour. Sunday was completely different! Same line-up, what a fantastic gig!! Everything just seemed to come together to make it a really stonking performance. The venue was a bar, very local to me, who often put on music including occasional Sunday afternoons. The place was completely rammed, everyone there had come for the sole purpose of seeing the band (and having a few drinks of course). The place was laid out so all seats were facing us, no screens playing football or any of that nonsense. Sound guy was a bloke well known to us, a performer himself and really excellent. Lovely support act, who stayed to listen to us right to the end. I don't think I've ever enjoyed a gig more. I felt like we were all playing out of our skins. I had several friends and acquaintances in, all of whom thoroughly enjoyed it. Looking out at the audience, every one of them seemed to be tapping their feet or singing along (no room for dancing, it was that packed!). The atmosphere was fantastic, everyone was friendly and having a good time (mostly over 40's of course, just like the band!) When we finished we couldn't move for people wanting to come up and shake us by the hand and buy us drinks. What was particularly pleasing was the number of women who came up to me and said how great it was to see a woman playing in a rock band and kicking a*se, especially in the same week as International Women's Day. I always reply 'You can do it too, it's never too late to learn - just go for it!' I would love to play with that line up again, we all really gelled. But with me and the drummer both being deps it's unlikely to happen all that often. Nevertheless a fantastic gig and I still feel high about it 24 hours later.

Oh, thank you for posting this. It made me laugh. And then cry. And then laugh again. It's so him - I can imagine him saying it. I can also imagine him welcoming all the newbies to the bass bashes. He was never one to leave someone standing in the corner on their own - he loved to welcome people into the fold. While I'm here, I'd like to say something. Firstly, I just want to thank everyone for posting their lovely memories and tributes. Please keep them coming, they're so comforting. It's so good to see that he was loved and held in high regard by the community. Barney, or Colin as you all know him (still weird!), was my partner for 11 years, from 1993-2004, and we remained very close friends after we split up. Sympathies at the moment lie - quite rightly - elsewhere, with his beloved fiancee Kim, who was his rock for the last five years of his life, and all his friends and bandmates. As such, a space to talk about his passing that doesn't encroach upon their grief has been difficult for me for me to find. With that in mind, I want to thank you all very much for allowing me this platform to talk about and remember him when none of you know me from Adam. I appreciate it very much.

I must say thank you to forums like this and TalkBass. The people in these forums have been super supportive and because of that it gave my drummer the courage to send out our video to a few places. No Treble Magazine being one of them and they actually featured our video on their site! Pretty cool. So thanks again! Here's to many more interactions on BassChat! https://www.notreble.com/buzz/2019/03/10/purejoypeople-pursuit-of-happiness/

Yeah, there was more than a passing resemblence, he would have been the first to admit it too 😂 Talking of Level 42: Sadly not a good quality picture, but here we are outside Colston Hall, Bristol, with Mark King, on the final '94 tour, back in the day when Colin still had hair (and several thousand curries ago, for me, clearly; I couldn't get into that t-shirt now if my life depended on it). He had all that lovely hair cut off one day when I was at work without telling me he was going to do it - the first I knew of it was when he sent me a picture of the #1 buzz cut. The rotten sod 😂 Funny story from that gig: This was when we were living in Exeter and he was playing in Goliath, mentioned earlier. Everyone knew him on the local music scene back in Devon and we literally couldn't go out for a pint without *someone* coming up to him and talking to him. So there we were, outside Colston Hall after the gig, at about midnight, waiting for the band, miles away from home, when this little voice pops up from the other side of the crowd: "Oi, mate. You're in Goliath, aren't you!!" I couldn't take him anywhere 😂

Thanks for sharing these stories about Colin, @Leese.. They're really good to hear in the circumstances being a sort of reaffirmation and celebration all at the same time! All the best, Nik

Aston Barrett was rather good on his Jazz basses and there is a Reggae player on here who plays Alembic basses. There are no secrets just get a good feel and forget the stereotypes.

Damn, saw this on FB. So sad. I met Colin at the 2012 SE Bash, my first. I was sitting in a corner of the Auditorium, with my then newly acquired fretless Rockbass Corvette 5 which I wanted to test with someone's proper cab because its output sounded very weak on my practice amp. Only I didn't know many people in the room, so I was just standing there wondering what to do. Colin saw me, asked if I was OK, then immediately offered to plug my bass in his rig. He actually also played the bass for me (upside down), just to make sure it wasn't my then rather beginner-like playing that made it sound so weedy. (It wasn't.) We became FB friends the following day, and followed each other on there, and saw each other at a couple of other bashes. Then his health deteriorated, his mum died, but Kim remained by his side to the end. My thoughts go out to her especially. Love you Colin.

Ok, to many these will be just another two copy basses. To me (having played them) they are just so much better. SVL Guitars are the work of Simon Law, guitar tech for Matt Schofield, Robben Ford and Pete Townsend. In fact he is with the Who recording at the moment (and, with these, I got a set of Pino |Palladino's strings). Hugely resonant and nice and light. They feature 5% overwound Lindy Fralin Vintage pickups, lightweight reverse tuners and Gotoh bridges. Absolutely awesomer work and they will be my constant companions from now on.

I concur, a Jazz. This reminds me of the great bass tone on early Public Image Ltd recordings, especially Metal Box, Jah Wobble with the Ovation Magnum Bass. Allegedly he played through an Ampeg rig that faced the wall of the studio and had a microphone behind. I wish I knew which basses and rigs were used by Floyd Lawson and Vivian Weathers on Linton Kwesi Johnson’s second and third albums Forces of Victory and Bass Culture, my very favourite bass on any reggae album. I’m putting the Samsara video up (again) but only because I’m not sure what bass he’s playing..?

There is no secret bass for reggae, I’ve been playing for about 40 years, since I was 15 , and have played mainly p and jazz basses myself, but I’ve seen people playing reggae on pretty much anything , the strings can make a huge difference and flats or tapes are perfect for that nice warm tone . Also active basses needed to be in passive mode or they didn’t sound right to me for some reason, when I thought they would. aston barrett played a jazz and every time I’ve seen Robbie Shakespeare live ( which is a lot) he’s played a jazz 🙂

I've never not done this too, as well!

I don’t drink or smoke, but it can get quite foggy in the studio 😀

These passive G & L basses are severely under rated IMHO

Great quote from his family - " May he rest forever on 2 and 4 ". His playing (and legendary start) on the song, 'Be my baby' by The Ronettes will always be a favourite of mine. RIP Hal, one of the absolute greats.

I've never undersdtood those venues that have a bit of a moan at your stage volume but then insist on filling the gap between sets with music which is far more intrusive and at a higher volume than you've just performed at.

Darkglass Hyperluminal. You can close the thread now.

I dread to think what 'Come On Eileen' is about 😲

I was asking about particular tunes and someone recommend Guitar Tabs, I assume it was one of their Scammers as turns out it's a big money fleecing set up, like a prat I had already " signed up for the year" as saw a lot of Bass Guitar songs/tunes I was looking for, turns out when you sign up the songs magically disappear along with the £20, please please please stay away, read trust A Pilot first, unlike me and many others, learn the guitar using the YouTube way,.

Kiogon has just rebuilt my concentric jazz controls , the sound is amazing, 🙂

Lucky enough to find a mint unused n210 as well today. Picked it up. Fantastic. Now makes a great deal of options and modular set ups: 2x10 - small gigs. 4x10 - medium to large. 2x10 and 4x10 - very large and outdoor. all super lightweight and compact too.

Sorry, missed this I've been away again. Did you see my Fenderbird? The bridge is Scott Dasson's badbird bridge (as used by Geddy Lee or someone)

Good band, the reggae act I've been with for years now has the keys player from Samsara.

Personally I've found the quality of tabs to be fairly consistent!!!!!!!

Matched Headstock, not perfect but okay to me ...

Nah - sorry Ricky... ...freakish hands it is then

Funny, discussing my upcoming activities this morning my daughter said why not suggest a reggae song - everyone likes reggae and the basslines should be easy (she said that not me!) It reminded me how many years ago I saw Steel Pulse; all the way through the bass player drove it along with solid, straightforward rhythmic lines. Then a couple of songs from the end he got a solo and went right off the scale. So don't underestimate reggae bass players!

Thanks for your rig rundown, Fleabag. 👍 Unfortunately I don't smoke the old 'dub cabbage'. Was thinking more like a cuppa tea and two paracetamol. 🙂

Four 21" bass cabs, neck pup, tone backed off, no mid and treb on the amp, bass tone up, big fat organic doobie

Generally I have to spend them all at once as pints are getting more expensive these days Thanks Raymondo

And that's exactly what I've done! 🙂 I found the M80 version on eBay (used in mint condition) for fifty quid! Like you say, my default sound can be the bass as it is (bypass the pedal). Then I can engage the pedal with slap tone dialled in when I need. I would have preferred the smaller version like you said but for £50 I couldn't say no to the DI +. Presumably it has the same preamp with eq centred to the same frequencies. The only difference I can see is the colour switch and the distortion, neither of which I'll use any time soon but maybe one day. Wowsers - I was ready to chuck £400 at this to find a solution. What shall I do with this leftover cash? BC marketplace here I come. Thanks you all for your lovely advice. I'll let you know how I get on with it!

you can get PAID?

Generally not - it's generally a proximity thing. As you've found out, most units will latch onto the strongest signal, however, if there is a nearby device(s) that causes intermodulation, you will be subject to that interference. Most people think that boosting the output power is the way to get around this... in reality, it's not that easy. For large scale deployments of wireless, it's all about using as weak a signal as you can, with co-ordinated frequencies. In the none pro world, wireless is complete chaos... and you take your chances. On the whole, you are going to be OK as long as there isn't too many wireless devices in close proximity to your receiver. Most people don't take their laptops down the pub... and because you tend to be the closest person to your wireless transmitter, you can more often than not, get away with it. The more clean channels you need though, the greater risk of interference as the space available in the rf spectrum is very quickly eroded. This is all part and parcel of the reason why all these 2.4Ghz are not common place on pro stages.

Oh, absolutely. It's just a nickname he gave himself about a thousand years ago when we first got together that stuck (from Barney Gumble, of Simpsons fame) and I don't think I ever called him Colin again after that. Hence "barneyg" in all his usernames, and the 42 came from Level 42, of whom we were both big fans. Naturally Thank you for your kind thoughts.

Remember that active PA speakers in general (not just talking about RCF here) - have DSP to aid in the flattening of the cab's response. Whilst it is possible with a passive setup, in reality, to have a comparable system without high costs is very rare. Also, remember, you can always take away frequencies that can be reproduced by a cab... it's generally not a successful route to try and reproduce frequencies that can't be reproduced by a cab (obviously). Whilst people may think that they can hard cut off a set of frequencies in the top end because they don't believe that their instruments produce them, this isn't true. A lot of the "airy" quality comes from all the harmonics that exist in those super highs... and cutting them can actually be detrimental to you your bass sound. In fact, this applies to pretty much every instrument. If your mix is sounding a little flat in the top end, it's can be those super super highs that are missing.

@Happy Jack @Silvia Bluejay That might be why you can't get the ethernet connection to work. It looks as though you have to turn off the internal WiFi on the mixer to enable the ethernet connection. I have found several sources on the internet that appeared to imply this also. Time to get a good quality external router to allow simultaneous wired and wireless connections.

When you link up the external router you have to switch the switch over to ethernet which turns off the internal router, we've had zero problems since throwing the free router that nearly went in the bin at it. I'm waiting to go to a gig with a standard xr router so I can 'help their mix out'.

One bass, one strap, now let's get on with the music. There, I've said it. * runs and hides *

That's the Colin I will remember. A great big bear of a guy, who gave the best hugs and loved everyone and never had a bad word to say about the people he encountered. (It's so odd hearing everyone calling him Colin. He was Barney to me for 26 years)

Silvia, that anecdote reminds me of one time when I was chatting to Colin at a SE bash. I was looking at his headless bass and I asked him how you tune it. He said 'A lot of people ask me that. It's easy, all you have to do is rotate these little twiddly things down here'. Then he suddenly looked a bit concerned and said 'Don't think I'm patronising you and calling them 'twiddly things' because you wouldn't understand the correct term. I don't actually know what they're called myself!!' 😁 It made me smile. Such a lovely guy.

£600 will get you a decent separate head and cab, enabling you to upgrade one or the other in future and/or making it easier/cheaper in the event of failure that you can be up and running again. Probably a lighter carry if they're separate, too. Worth a thought?

I wouldn`t let the 350 watts of the Ashdown put you off - the RM range are incredibly powerful. I`ve only ever connected my RM500 head to an 8ohm cab and never been able to push volume past where I need it, and I`m in a punk band so we`re not playing quiet music.

Every Muse song appears to be all about Matt Bellamy, irrespective of the lyrics.

About as small as I could make it.