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This page is good for generating a collage of your albums, like this...

Hello! My name is Dave and I am a bassist in North Kent. Been playing around 12 years now. Been a member on the site for a while but never really introduced myself! Gear includes a heavily modded Fender mexican deluxe active P-bass and a '86 Ibanez Musician Fretless, all played through a Tone Hammer 500 with a Bergantino 1x12. Mostly rock/metal throughout my teenage years, think Zeppelin mixed with Nirvana and Iron Maiden. Now I would say I edge more towards soul and funk (recent convert to foam under the bridge)! Play for a rap/R'n'B artist, 'Fennie', a Cream and Hendrix tribute act, appropriately named 'Creami-Hendrix' and a function/party band, 'The Rockets Collective. Links: https://www.facebook.com/davidnevittmusic/ https://www.facebook.com/CreamiHendrix/ https://www.therocketscollective.com Also a proud runner up of the Rotosound competition from earlier this year, I wear the t shirt with pride!

I would always rather be playing than not. Every experience is valuable to me as a musician. The more gigs I do, the better I should get.

Well, it's been a while, but the wonky wonder is still under construction. Fretboard is on and I've started shaping the body.

I like it when there's a big crowd and they're all up and dancing, but i'm not as put out as the rest of my band when we play a gig and we're just providing background music for the event. Happy to be paid to play background music. All goes towards new and exciting music equipment

Irish bar in centre of Bath with my originals band. Packed, dancing, cheering and even singing along. Can't ask for more really.

@cocco The Stomp will certainly be able to split your signal through a crossover and allow you to build the signal path you describe. I'm not too familiar with the LT, but I think I'm right in saying that it will allow you to use more blocks (blocks are what Line 6 call each individual effect in the signal chain). There is currently a limit of 6 blocks on the Stomp, but the good news is that you wouldn't need to allocate one of these to a crossover as you can drop one in between blocks at whatever point in the path you wanted, so that would effectively give you 7 blocks. For example, you could set up a signal path something like this; Crossover, then lows going through a compressor into an amp & cab model (or just an amp or just a cab). Maximum of 2 blocks. The high signal path could go into a Sansamp model (I actually prefer the Helix model to the real thing as its easier to put the mids back in) into an amp & cab model. You could even mix and match guitar amps and cabs here, but if you were to mix a bass amp with a guitar cab they would need a separate block each. Maximum of 3 blocks. Your can then either blend both signals back together or route them to separate outputs if you're running more than one rig. Like the crossover, you'll get the mixer to blend the signals back together for free so it won't use another block. The only potential issue with using the Stomp for this is that a signal path like this will only leave you a block or 2 for other effects. But that's obviously not an issue if you're not a big effects user!

Hello my name is Ari Satlin. I was Jeff Andrews neighbor in WestBeth an artist residency, where I grew up, Jeff moved into WestBeth around 2000 & moved to my floor in 2012. We became fast friends one day when I asked him if he could help me fix my bass. I’m a Guitarist, Producer, Songwriter. I didn’t know Jeff was a famous bass player all I heard was he was a jazz bass teacher. He wound up fixing my bass & thanked me cause he said, it helped him come out of a dark place he was in. Well I could totally relate to that. So we wound up hanging out a lot & just kicking it. At this point I had watched a YouTube clip of Jeff and I was blown away! I think it was around March 2013 he wanted me to help him get back on line, he had been MIA for quite a few years, so I administered a new Jeff Andrews facebook page. There’s a lot more to tell I have a lot of information that nobody else knows, regarding Jeff’s life etc. I’m not gonna go into that right now but I wanted to introduce myself and also invite you to the original Jeff Andrew facebook page he had me create for him. Hopefully my picture will upload of Jeff & me & I’m gonna try posting the link to the page. https://www.facebook.com/jeffandrewsbait/

Why would you ever be embarrassed of not being as good at something in the past as you are now? It’s all part of your life and what makes you who you are now. Most people never bother their hole. You did something. Be proud of it all.

Class D amp manufacturers on the whole don't believe anyone would want to rackmount or even flightcase their products because they are "made for portability". They are wrong Most Class D users are limited to either carrying them around in a mimsy little nylon bag that will get smashed to bits in the back of the van on the first speed bump, or putting them in a sturdy box for transit then leaving them perched on top of a cab, ready to be squashed by someone elses amp, pulled off by someone tripping on a cable, or worse still, nicked because they are so compact and easy to smuggle out. I am one of those musicians who need their gear to be flightcased as my stuff gets thrown around in vans and in and out of venues a lot, but is also sick of having to lug a 50 pound Ampeg between vehicles and venues/rehearsal rooms, up stairs and onto 8x10 cabs. Apart from the inconvenience, it is too risky on the wrists, one false move and you're sunk. So I decided to take the plunge and buy a Magellan 800 (a beautiful and great sounding little amp, cheers @bassace !) then work out how to incorporate it into the setup without having to spunk more money on a custom flightcase to hold it and my rack tuner. So I thought I'd just post some photos of what I was dreading having to do, but in reality only took an hour to complete. 1) Removed the rubber feet from the amplifier and very carefully measured then copied the hole locations onto a 2u clamping rack tray. 2) Drilled the holes to match the existing holes in the amplifier baseplate, then deburred the edges. 3) Made up a couple of spacers from scrap 6mm plywood and drill matching holes to suit the existing ones. I decided to do this to give a little airflow under the amp, and also just in case a gig gets rowdy (and a lot of mine do!) so if any beer hit the rack, it would run off under the amp, and not soak the baseplate and potentially get in and cause problems. 4) Removed the screws from the original feet and gave them larger washers to spread the load a little on the rack shelf. Used spirit pen to blacken the front edges of the spacers so they are invisible. 5) Screwed the amp to the rack shelf via the spacers. It sits nicely and has loads of airflow. 6) The amp, screwed into the shelf. I measured it so the front of the controls would be just behind level with the front lip so even if the entire lot came crashing down off an 8x10, there is virtually no risk of the controls getting sheared off. 7) Fitting the clamp bars on the rack shelf. This way, the amp is secure sideways and front to back, but if the case gets tipped or dropped, the clamping bars will hold it in place on the up/down so there is no undue strain put on the bottom screws. This is important if I ever wish to re-rack it and revert to freestanding. Small pieces of hard foam sheeting were placed between the bars and the amps surface to stop it getting scratched by the bars. And here's the finished case. Looks a bit gappy but hey, airflow! So there you have it, I wasn't looking forward to this job as I thought it would just be a bit of a bodge, but needs must, and this thing is absolutely bombproof now in my full flight rack case. My rack is now 13 pounds lighter than before, and I have an arguably better amp for my purposes, with a lot more welly if I need to drive it.

That's exactly what I did! I have one for bass, one for (whisper it) guitar....that way I didn't have to listen to guitarists going WHEEEEWIDDLYWIDDLYWIDDLYWHEEEE!! at top volume, or other bassists going SLAP SLAPPITY TAPPY SLAPPY TAP all day. I thought the show was OK. I thought that there were too few exhibitors, I didn't think much of the idea of sticking the luthier's talks over in one corner of the main exhibition area rather than in a room of their own. The bass I would like to have walked out with was the blue Willcock Mullarkey n the picture. The one that I nearly did walk out with was the Phil Lynott-stylee Bass Collection Power Bass. To be honest, despite a pleasant chat with the bloke at the Spector stand, Shergold's guy passing on the welcome news that they will return to selling basses next Spring, and bumping into @Jean-Luc Pickguard, it was for a long while more than a little ho-hum. But, after having my brain bashed by Nik Preston with Music Theory at a workshop on improvisation, then meeting up with @Silvia Bluejay at a presentation by Alex Claber of Barefaced, things were looking up. And then I went to the Patitucci performance. When I sat down, I noticed on the stage a Nord keyboard as well as that 6-string bass of his, so at least it wasn't going to be like Gary Willis last year, playing along with tracks off his laptop. I was remarkably pleased when JP came on and brought with him Gwilym Simcock, one of Britain's best jazz pianists IMHO. They played a set for which I would happily have paid ten times the price of my £5 entrance fee to the Auditorium, had it been at Ronnie Scott's, Pizza Express Soho, or the like. It was definitely one of the best performances that I have EVER seen at one of these kind of shows. Once that was over, I tried to hang around for a little while to talk to Gwilym, whom I know a bit from Impossible Gentlemen gigs; however, the organisers were moving people out. Just as well really, because as a result, I was able to sneak into the back stalls at @Steve Lawson's workshop on Fretlessness - sadly on at the same time as Mr. Patitucci's performance, but I managed to catch the overlap. Best bit was yet to come, though - as I went down to the main exhibition hall again, out past me walked Messrs. Simcock & Patitucci, so I said hello to Gwilym as he walked by, and then got introduced to JP, and then Shez Raja turned up and talked to me, and all of a sudden I was surrounded by top class musicians, me in the middle, chatting away like I belonged....... old age fanboy or what? Anyway, it turned a reasonable but relatively ordinary show into something worth remembering for me. If the organisers could arrange a similar experience for next year, I'd buy my ticket now! 🤣🤣 .DS_Store

The Cure - Join the Dots (b sides and rarities '78-2001). I had Standing On A Beach on cassette when came it in '86, basically a greatest hits but the b side was all the b sides of the singles, and they really weren't just songs not good enough be a sides, some of them better than the singles. Anyway they are all on this four disc compilation along with all the b sides from that point on and some tracks which weren't on albums. Disc one's the best as it's the music of my yoof.

You're gonna have to stop posting pictures of this because you’re making me want one - in the same colour!

Nobody's reading this far down, so I'm going to make some up Peavish Pete - I can't work out where you're coming from so I'm going to leave and come in the same way. Good Gawd and the Gods - Custard+Custard = Medusa. Bowel II - Bowel Bowel - Bowel II Kurstii & Fil - Kurstii & Fil's Nu-Klezmer Party Vol III Philosophy of Whey - Market Garden Sarah Waddington - Lowland Surprise orchard of sins - trepandemonium

Those Modulus Flea basses really are something else. Taking the a reasonable Stingray as a foundation and then taking that recipe to the next level by refining every aspect of the design. I have never been a huge fan of Flea but I was of the opinion at the time when Flea was using these that they sounded far better than anything he had played previously. The still hold up as his best tone for me. I'm pleased you got your hands on something you've wanted for so long. If you ever have an off day with it, just remember the longing and desire to preceded it's arrival.

For me its never about the money. Its always nice to be well remunerated but I prefer to drive back from a gig buzzing after a great night. I spend enough time on the day job, thinking only about the money as its a drudge. A great gig is what I play for, the money is a bonus. Pro players will see it differently.

My band did a similar thing on our Facebook page a while back, but there has been the odd tweak to the list since: Arrival by ABBA - a world without ABBA is no world at all IMO. Wish You Were Here by Pink Floyd - possibly my favourite album of all time and the album that changed my life. Flawless. Moonmadness by Camel - my other all-time favourite, never tire of it. Also flawless. Seconds Out by Genesis - probably my favourite live album. Supper’s Ready! ‘Nuff said. Going For The One by Yes - I could easily have put about 4 Yes albums in here but I’ve tried to keep it to 1 album per band, and allow for changes of mood. This isn’t my favourite Yes album in its entirety, but there’s no way I could never hear Awaken again, my all-time favourite track. Rumours by Fleetwood Mac - again, flawless. Sandy Denny live at the BBC boxed set (or the 19cd collection, which I can’t afford!). Not strictly an album, so if I wasn’t allowed it I’d probably go for Fotheringay’s first, although What We Did On Our Holidays, Unhalfbricking, and Liege & Lief by Fairport Convention would run it close. At her best, Sandy is my all-time favourite singer and one of my favourite songwriters; never hearing her again would be horrendous. Anybody here ever see her live? If so, I’m so jealous beyond words. 😉 Never For Ever by Kate Bush - a cosy onesie of an album. Wonderful. I Want Candy by Bow Wow Wow - absolutely love this band, and for some reasons these early tracks are generally my faves. Blood Sugar Sex Magic by the RHCPs. - there are some Yes albums that would come before this, possibly some other Genesis too - and I was really torn as to whether or not to put Hawkwind’s Space Ritual here, but although I think Space Ritual is a more important album to me, I simply don’t listen to it much anymore. Maybe I should! In terms of mood, BSSM ticks a different box to the others. It also reminds me of the tail end of one of the happiest, most blue sky periods in my life. So for now, BSSM, but it could be Space Ritual tomorrow. Or possibly the sublime The Lion’s Roar by First Aid Kit the day after. 😉 EDIT: I think on reflection the last would have to be Space Ritual. I think I just need to rediscover it.

Have another pic of my Shuker Singlecut fanned fret 6, because it's kept me from wanting a new bass for about 10 years now.

Some sound clips from my first session playing the beast http://bestnetworx.com/uploader/files/138/bass 6 demo.mp3

"I could play "Stairway To Heaven" when I was 12. Jimmy Page didn't actually write it until he was 22. I think that says quite a lot." - Vim Fuego Dammit, beaten to it.

Squire musical archivist miguelbass has a four part video series on Chris' 8-strings but here's the Ranney episode - brilliant research from Miguel:

Well it’s done and set up, just a little shielding work to finish off, but with the tone rolled right off it’s useable. Tha schaller 3D Bridge is a thing of joy The bridge pick up on this is a monster and could get very gnarly, but it’s super punchy and clean. Current weakness is the neck pick up volume but I need to raise it if I want to get more volume out of it and would need longer screws, but I am really liking either both together or bridge alone. The action also goes super low

Well, my wife gave me an album for my birthday and the vendor on Amazon had mislabelled it so it was one I already had. She said, send it back and just spend the equivalent cash on something else. So (overspent slightly) and got the 2 disc version of Thin Lizzy Live At The BBC and The Sidewinder by Lee Morgan. Both fab in very different ways!

Tonestyler does a 6 as well, for single or 2 pick up basses i have routed my jazz for Rickenbacker pick ups and a. Tonestyler tele jazz control plate

It looks glorious 🙂 The angle/light might make the pick up look of centre but it’s bang on.

Well, Ross was never going to introduce him as 'A talentless w**ker you probably thought died years ago. So, a bit like me'.

Did some further research last night and there are just none about in the usual music shops - just a 5er in GAK. Suffice to say I was at Dawson's for opening - they were so sure I'd be back they'd actually put it out the back off sale ! Even got permission off the boss - a happy ending !

Come on down, we are having our first bass bash here at the shop on the 6th October, 2-5pm tea and coffee available, and maybe some biscuits and donuts 😏 hope to to see some of you guys there M

Not got any details but I have just heard that US bassist Jeff Andrews has passed away after a long illness. Can't find anything on line so any news would be helpful. A great player who gigged with Brecker, Mike Stern, Vital Information and a host of others. http://www.jeffandrews.biz/index.html

I like The Snow Goose a lot, but Moonmadness is another planet entirely; or should that be satellite?😉 Strangely it seems to have flown completely under most people’s radar, or maybe it’s just an acquired taste. I finally saw Camel (current incarnation) play the entire album live last year, although they rocked up Another Night too much for my taste (not that I’m averse to rock mind, being a huge Sabbath and Manowar fan) and I don’t think the current band is as good as the classic line-up (particularly in the drums dept). For me the unexpected highlight of the gig was the non-Moonmadness track Ice. I’ve never been so moved by a piece of live music in my life. By the end I was literally sobbing. I dread to think what the people around me thought. Again, Andy Latimer is so, so underrated as a guitarist. He’s up there with a Gilmour for me.

I usually use stainless steel on active basses and nickel on passive basses. What I have found in all my years of using stainless steel strings that those Dunlop Super Brights were the harshest sounding strings I've ever tried fresh out of the packet, but they soon mellowed to a nice crisp tone that actually lasted very well.

This list is only valuable today. Tomorrow, I'll probably remember some other stuff. Gentle Giant: The Power & The Glory Gentle Giant: Free Hand The Group: Omniphonic Music XTC: probably Nonsuch Yes: Close to the Edge Yes: Relayer Zappa: Läther Zappa: Guitar Zappa: Civilization Phaze III An album with the most soaringly beautiful classical piano music, with some Mozart, Haydn, Beethoven, Schubert, Chopin...

I contacted Hercules to try and get a replacement clip and they sent a replacement stand. Very good service.

I went along to a LBGS show years ago, not long after I got my Markbass cmd210 combo and went on the stand and told Marco de Vigilis how pleased I was with it. Next thing I knew I was whisked off in a lift between him and another couple of guys, on a wave of enthusiasm up to a conference room to see and try all the new line of amps. Knew then that I'd chosen the right product(even if it was all a bit surreal and scary in equal measure.

Hiya Dave

I still wake up some mornings thinking "damn you honesty, I should have kept it, and leave the country and be happy ever after in a desert island with that bass, somewhere nobody could ever find me mwah ha ha ha" 😛 Seriously now... I've met some really nice generous characters through this forum and you're definitely right up there. Thank you. Although I should have cursed you now that I think about it, you've cost me so much money!!!

Give us a clue about where you live and I am sure someone on here will be able to recommend someone local to you.

Our very own Cetera used to do an excellent job of Gene Simmons so i guess you're right. I liked the older Kiss material Destroyer from 76 being a top 5 fav album over the years unfortunately i've never managed to see them but i've seen a few tributes including Cetera in Dressed to Kill and they have been close to the originals as far as image and stage show goes. Maybe not as huge a show but worth watching for me. Seen Floyd doing the original Wall way back early 80's and the support musicians were playing at one point and sounded just the same. LOL I guess any band can be copied. Dave

It’s a learning curve. You learn from what you’ve done in the past, some things work, so you carry those forward, tweaking them. Other things don’t work, but you should look at them, to try and find why they don’t. It’s actually good to let others listen to what you’re doing, ask them to critique your work. Learn to critically listen to your work. My PhD is in composition. I have monthly tutorials with my supervisor, we sit and listen to what I’m doing, I get feedback. I listen to some of the stuff I did a year ago and think, cripes, that’s awful. That’s a sign that I’ve improved though.

Perhaps - and that's actually what the longer allen key is effectively doing. The only way though, in either case, is to get your hand fully into the chamber with the soundhole around your wrist. It's a bit like squeezing your hand into a ladies bangle (so I'm told)

There are some no-particular-brand units on eBay for about 25% of the cost of a Tonestyler (and some cheaper still) although with only 6 positions as opposed to 10. I forgot I had bought a whole wiring loom for a Jazz including one of those a while ago, because I was curious (but clearly not that curious, since I forgot about it!). I plan to install it on my Matt Freeman JJ (both pickups towards the bridge) and see how it goes. I don't see why it would not be good, it's a pretty simple idea/technology. However the 10 position Tonestyler is very nice, so it is a safe bet and it's not THAT expensive.

Can you block “basses for sale” from mine. Always gets me in trouble 😂😂😂 (joke. Please don’t...)

A disconnected driver becomes a passive radiator, upsetting the tuning of the cabinet, which could result in blowing the remaining drivers.

Here’s a section I’ve just written that I’ll probably add to the manual. (Formatting is better in the proper document. What do you guys think? Building your first sound Loading a pre-existing sound and playing around with the various parameters can be a very good way to learn how to manipulate sounds to your liking, but at some point you will probably want to start creating your own sounds. This next section will give you a few pointers on how to do just that. The examples assume you are creating a sound using the audio input for triggering. Connect the FI to your computer (a single cable is sufficient for this, unless you want to write your sound to the FI straightaway). Launch the Editor. Let’s start by zeroing out all the parameters so you can start from a clean slate. Using the block adjust tool in the bottom right of the Editor click Select All and Reset. Note that due to the various gain stages in the signal path you may need to raise several sliders above minimum in order to hear anything. To hear your dry instrument signal, turn up the INSTR slider in the Main Mixer. You should hear sound straight away (providing the pedal is not bypassed). To hear a sound using the synth you will first need to turn up no less than 5 volume sliders! These are as follows: At least one VCO waveform amplitude slider - e.g. VCO1 AMPLITUDE SAW; That VCO’s master volume - VCO1 AMPLITUDE VOLUME; The synth volume going into the filter - VCF INPUT SYNTH; The VCF outputs of the main mixer - MAIN MIXER VCF LIN and; MAIN MIXER VCF LOG. If you are in one of the two ADSR modes then you will also need to set the VCA envelope before a sound can be heard. To start with, set the S slider to 127 and leave all others at minimum. This gives a simple on/off gate signal when playing a note. (If you are in Vintage envelope mode then leave both the A and R sliders at minimum to achieve the same effect.) Lastly, the filter will need to be set with a sufficiently high cutoff to allow sound through. (You could set VCF TYPE to OFF to bypass it completely but for this example let’s use the filter.) Click the Vintage/New button to put the filter into New mode, set the slope to 24dB and raise the cutoff (VCF FRQ) slider to 122. You should now hear a sawtooth alongside the sound of your instrument. Lower the filter cutoff back down to 64 and you’ll hear the sound become more muted. Now raise the A and D sliders of the VCF envelope to 64. This sets an envelope shape, though you still won’t hear any difference until you apply this envelope to the filter. To do this, raise the AD/ADSR slider in the Filter section; set it to 64 for now. You should now hear a synth brass-type sound. Experiment with the positions of the A and D sliders of the envelope, the VCF FRQ slider, the AD/ADSR slider and the RESO slider to find a sound you like. If you want the filter to sustain at a cutoff level above that set by the VCF FRQ slider then raise the S slider of the VCF envelope. We recommend only using a single oscillator to start with until you have become familiar with the controls. Adding multiple oscillators adds complexity and you need to be careful with the levels if you want to avoid foldover distortion and clipping. When you are satisfied with your creation, click save to archive it to your computer. Let’s now look at creating a sound using the Distortion block. Use the block edit function to zero out all the blocks again. To hear a sound using the Distortion block you’ll need to turn up the following sliders: At least one slider in the Harmonizer Mixer section - e.g. INSTR The distortion block signal going into the filter - VCF INPUT DIST The VCF outputs of the main mixer - MAIN MIXER VCF LIN and; MAIN MIXER VCF LOG. Again, if not bypassed, the filter will need to be set with a sufficiently high cutoff to allow sound through. Let’s bypass the filter this time so set the VCF TYPE slider to OFF. At this point you should hear sound but it might be very faint. This is because the sound is being made using your instrument as opposed to the synth and the synth has a much hotter output than the instrument signal. If you recall, unity gain of the instrument input is achieved when its sliders are at 127. Turn the VCF DIST and HARM MIX INSTR sliders to 127. Now raise the DISTORTION TONE slider to 127 and you should notice a marked increase in volume. If it’s still not enough, try raising the VCF LIN and VCF LOG sliders. Now experiment with the positions of the DISTORTION GRADE and TONE sliders. You may need to back off some of the volume sliders at high GRADE settings. Now raise the HARM MIXER VOICE2 VAR slider until you hear distortion at a 5th above the original sound. Adjust the HARMONIZER TRANSPOSE VOICE2 slider to hear the different intervals. If desired, repeat the process with VOICE 3 and add in the VOICE1 slider. Experiment with different combinations, paying attention to the volumes, until you find a setting you like. You could also mix in some of your dry instrument signal using the INSTR slider in the Main Mixer. When you are satisfied with the result, click save. Hopefully you now have a better idea of how to go about creating your own sounds. Remember that you can create a sound using a mixture of the synth and the distortion blocks. If necessary, go back over the explanations given in the parameter block descriptions to acquaint yourself with what the VCO, LFO and effects slider do and experiment, again within a single VCO until you are comfortable. Don’t be afraid to try things out and let your ears be your guide. We hope that your Future Impact v3 brings you many years of joyful music-making!

I have been hearing him over many years not realising who he was until last week and was shocked to learn this morning about his death, what an outstanding musician,very sad.