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And they've acquiesced and agreed to buy me out, rounded down to the nearest hundred quid. I don't know why it was so difficult to get that far, but I guess egos were bruised all round. It's a happy ending. They get to carry on, I'm out their way, a new guy gets a crack at it and a worthy charity gets a decent pay day, so everyone comes out with something. I'm going to try something different. I'll do a bit dep work but that aside I've decided to concentrate on improving my own playing skills for a bit and do some teaching.

I've just left a band too, so I sort of know how this feels. The 13th is only a week away. I personally would not expect the rest of the band to buy me out of the gear before that, it's a very short time scale. I'd be more likely to agree a couple of months. In my "band leaving situation", the PA is entirely owned by me, and there's a gig on 27th July. I'm going to let them use it, it's already at the drummers house, I'll go and collect it sometime afterwards, unless they want to buy it off me. I'm also having one-to-one sessions with my replacement (who they have found), to bring him up to speed, and to help out the rest of the band. I don't like burning bridges, it's much easier if we all get along and accommodate each other. Rob

Just got back from a lovely holiday in Florence and thought I'd share this beauty. It's a 5-string double bass from the Medici collection at the Galleria dell'Accademia, dating from 1715. The 5th string was actually added in 1901. In the museum it is standing next to a mid-18th century 3-string double bass. They are gut strings of course They have a fabulous collection of instruments, including several early keyboards, strings and woodwind (the serpent looked great). The gallery is the one that also hosts Michelangelo's statue of David

As a cellist playing in an orchestra, I don't get to have the glamorous get ups or stage set up. Most concerts tend to be in churches as there are so few venues that can take an orchestra and have space for audience.

Right on the tails of the brill sounding filter in the Source Audio Abstrakt, past FX go and release a shrunk down Moog MF-101!

Hi ! I hope this is allowed. If anyone need custom/discontinued/hard to find knobs, I can 3D model and resin 3D print them. I've done it for Wal knobs, Aria knobs, Ibanez inspired knobs. Some 3D models : Some finished products pictures : Feel free to let me know if you want some

Read through the post. This seems to be the main point. i) You quit. ii) As a consequence, while they claim 'no hard feelings', they don't want you there. So it's over. iii) You won't let them bring in a replacement and allow him to use gear you've contributed to monetarily. The key point is #3. You won't let them bring a replacement in and use gear you part own. Hmm. Well, good luck with that. Realistically, what are you going to do? Jump on the stage where they're playing with a placard saying you own <insert percentage here> of their live gear and the show needs to be stopped? Quitting a band hurts, I know it does, you've worked hard and someone else is now going to reap glory from your work. To resolve this, from the outset, work out what you've spent and depreciate it accordingly, agree on a figure (go in high, which will allow you to take a drop in return) and give them your bank details in the initial contact email/text. Leave it to them to continue gigging and let the old guys pay you back.

I'd suggest fixing a date with them for getting the monies paid over, and let them get on with their gig programme.

Not one of us had a gig on Friday?! Bloody Labour government.

Just back from the Borough Blues Festival with Bluesfire. Not a huge event, it's basically a club that puts on a dpevial day each year with a couple of pro bands and a handful of local bands. I got stuck for 30 minutes on the M4 and Al was playing another festival with his other band finishing at 5, but we managed to get set up for 6. We got the middle slot of five bands and the place was nicely filled up. I felt I was sloppy after a week of feeling very under the weather, but it all went well and we got lots of positive feedback afterwards. Managed to get back by 8:30, including a McPlant meal, cappuccino, mozzarella bites and apple 'pie'. So now watching very good local soul band (Dansette) down the club. Have switched to Jack as my guts are full...

An interesting foot note. I know who my replacement is, but dont really know him. He uses the same rehearsal studios that I sometimes do so I know his face and I've seen his name on the chalkboard on the rehearsal room doors. The reverse is probably true of him in that he knows my wizened fizzog and name. The rehearsal studio is coincidentally owned by a guy I worked with in the petrochemical business going back about 15 years, so its a smallish local music community int he sense that we pass like ships in the night and pretty much know who each other are, if nothing else. The proprietor is thus at the centre of it all, gossip central, and hears everything from all. Anyway, I've heard that he was a bit annoyed at being invited to dep with a view to joining only for them not to tell him there was a bit of a dispute with me sill lingering like a stale fart. He refused to work with them until they'd sorted it, which probably explains their welcome but somewhat unexpected change of heart after giving me a polite but emphatic "no" only a few hours ago. If I'm honest, @Heathy is bang on. I was a bit of a diva in my leaving, although I genuinely wasn't rude. I apologised directly to the band 'leader', so while I was a stupid tit I was a magnanimous one. I do appreciate that I've put their noses out of joint, but I made it plain it was an artistic decision and that I have no personal beef with them. I know who is the main architect of the response I received and I simply won't work with him again, although id happily buy him a beer if I ever bumped into him.

Here's a couple of oldies i came across this morning. Dave Scarlet Inside - rehearsal 2013 (Prog) Mind Sculpture - 2015 (Prog) Hot Love - 2016 (Glam covers)

If this is about the money and you’re desperate for it, then stand your ground. If it’s about losing face then be the bigger person and walk away and figure it out when tensions are lessened. I fell out with friends over a band when I was younger and I acted impulsively. When emotions are high and we feel we’ve been poorly treated we can lash out which can perpetuate the issue. Let them do the gig, get your cash in the future and move onto something more fun.

I'm sorry @Bassfinger but IMHO you need to pick your fights, and this is one to walk away from. The best you can hope for is to get your money a few weeks earlier while possibly picking up a fair amount of bad publicity amongst the musos you know ... can you imagine how all this would be spun by four or five others in the band? I can see that you're well pissed off and I imagine that I would be too, but I suspect that you'd be pissing into the wind on this one. Best just let it go.

Tonight, without our keyboard player and with a dep drummer 😬🤞

I think I’d have the discussion with them along the lines of, you’ve got x number of gigs lined up, after paying the new guy his share this leaves y left over after each gig so I expect you to pay me what you owe after z gigs. I’d probably deduct expenses for each of them from the y figure unless they got like donkeys.

My band 'Shreds.' hit Sheffield on July 12th together with King Of Pigs, This Is Not A Drill and W.O.R.M. If you like punk / hardcore and you're in town, please drop by Zephyr's and check us out! You can buy tickets in advance here: https://www.ticketsource.co.uk/terraphile-promotions/t-rpyalmj

As an alternative to rubber washers, I can recommend the D'Addario Dual-Lock jobbies I've been using for a while now. Can't vouch for how secure they might be if one is a Hyperactive Flea rather than an Entwistle Statue like me, but they work well and are easy to click on and off. They've also got a channel which holds your cable securely - this grips the cable pretty tightly, so I leave mine attached to my cable at the appropriate point, then it's just a case of plug the jack into the socket, clip the lock onto the strap button, and I'm good to go. https://www.daddario.com/products/accessories/strap-accessories/strap-locks/dual-lock/

One of mates has a Led Zep tribute band that's been running quite a few years but approx 5-6yrs ago they went acoustic Led Zep bringing in a violin and 2 cello players with him on mainly acoustic guitars and singer. They also brought in a female backing singer and they've played the same theatre style venues they did as the full Led Zep tribute band. One of the cello players has the traditional wood cello and the other a carbon fibre type and they do definitely sound quite different. They cover the bass parts of the Zep songs on the cello's and do a fantastic job. The guy with carbon cello (think his first name is Callum) is a pure showman with long dreadlocks etc and he's extremely entertaining to watch. He changes from bow to plucking the cello with so much ease and both get their little solo spots. He has played the Albert Hall as part of an orchestra tribute to the legendary Jack Bruce. Have to say it opened up my eyes to cello players and their ability. He is also very good at doing ad-lib. Dave

Is 7 times enough to be sure @BassAdder60... ? 🤣

I'd go with the consensus here. If it were me I'd agree a price for your slice of the gear with the rest of the band and then give them a reasonable time to pay it. Other than that, I'd just try and let it all go as smoothly as possible. Years ago I quit a band, offered to play the two gigs we had booked and was told that if I was out, I was out. This was fair enough, so I took my gear (which included instruments and amps used by other members of the band) and left without any hard feelings.

I think your stance is entirely reasonable As soon as your agreed time playing with the band is over then you should be able to leave with all that’s yours, or the monetary equivalent anyway.

My sister-in-law is trans. I’ve heard some of the cr@p that she had to put up with. Some people just can’t live and let live - how does someone they don’t know dressing differently and using different pronouns affect them at all?

I'm actually not doing too badly with it, the notes and the timing are pretty much there, to my ear at least, which is really more testament to the quality of the instruction than anything. It's just the speed of the song that will take some time I think - I'm nowhere near it yet. I've just (a couple of hours ago) invested in a piece of software called Transcribe which lets me play the actual song itself at a slower speed but keeps it in tone(?) so hopefully I'll work it up to full speed eventually. I've also started on another song after having seen one of the recommendations in this thread that is demonstrated more than taught by Constantine Isslamow. It's 9 to 5 by Dolly Parton - again selected because it's such a great tune. He has a free and clear transcription of the bass line in a link in the video and a clear shot of him and the bass (both hands) that make it very easy to follow. The resources that are available to us, especially those of us who are beginners, is astounding really.

I’ve played with people I wouldn’t consider friends and I’ve also got musical friends I wouldn’t consider playing with. Whatever your reason for leaving, as long as you do it professionally and give people time to arrange alternative plans then it’s fair enough I think.

As I understand it ... The term linear is one that describes how the pot resistance changes relating to its position (Its taper) , the following is roughly how it works. A center detent pot has a physical notch or dimple such that when it is moved to the centre position you get that little 'click' to indicate such, the electrical behaviour of the pot remains the same. A common blend control is actually two pots with a single control shaft, as you turn the signal going through one pot increases whilst the other one decreases. I believe a centre detent pot used to boost/cut requires some more electronics behind it (commonly active electronics) to achieve that effect. Sam x

Hi all I'm not sure if it's already been posted but I just heard Wobble's new single with Horace Andy for the first time, I like it its definitely a more Wobble version with his busier bass style..

It's worth understanding some of the reasons why 'home' sound is so different from 'live' sound. The first is room acoustics, homes generally offer smaller spaces and a lot more soft surfaces with shorter reverberation times and you'll generally be closer to the speaker so more of the sound is travelling direct to your ears. Big rooms with large reflective surfaces mean a lot of multiple pathways to your ears and lots of comb filtering. A second factor is the presence of other instruments in the mix, Kick drums and toms are 'competing' with your lower frequencies and guitar and vocals with your upper middle. You need to emphasize the frequencies left to you a bit to be heard and that lovely mid scooped sound you have at home isn't going to cut it, you need to boost the mids and probably cut the bass to clean up the band sound and be heard amongst the other instruments. Thirdly your PA will interfere with your sound. The vocal mics will pick up any backline and the drums and amplify them out front. There will be some inherent delay in this and you'll get interference between this and your backline cancelling some frequencies and emphasizing others. Standing behind the PA speakers you'll hear all the bass someone in the front row will hear at the same volume, everything else is directional so you won't hear the mids and tops and you'll be swamped in bass from both directions. A fourth problem is volume. At home 80db is reasonably loud and 90db very loud, at the gig you'll probably be opreating at 100db plus. The frequency response of our hearing changes with volume with louder sounds exagerating bass and treble. This might make the bass sound 5-8db louder depending upon which frequency is involved. I'll put a graph underneath to illustrate this. You get round this by rolling back the bass and treble or emphasisning the mids again if you want to carry your carefully constructed sound into a live gig. Live sound is a messy business and it's rally hard to be perfect every time as every room is different and even the people in the room change the acoustics.. You just have to be flexible and a good set of ears helps a lot.

Lobster's back. Something seems different this time, maybe it's the studio?

I may have posted this before but we were in New York in September 1996 celebrating our wedding anniversary, and I was allowed to buy a new Stingray from Manny’s that was manufactured September 10th 1996. Eventually brought it back to Blighty, used it for about 4 years and sold it on eBay to a lady in Scotland who bought it for her boyfriend. Been looking for it ever since. . Serial No. B03721.

Jesus wept, what a soap opera. Scratch that, it's a telenovella!

I was once in a similar position to this when I left a band. In hindsight I behaved like a bit of a diva! As you left the band, and this appears to be more a point of principle rather than needing the cash, I would advise sitting back, trusting the others to do the right thing, and being the better person. If I could go back, that’s what I would do.

Urm ... see how confused I was, couldn't even count correctly! 😖 Or it might have been my fear of those dusty areas on my fretboard ... Sam x

Still at £118 but with 22 hours to go there's plenty of time for the price to go up...especially as everyone on here now knows.

Your acumen does you proud.

^^^^ The above is my view on it too.

Spot on. Assuming that your bandmates are reasonable people, you need to ask them to agree to a technical rehearsal which is all about your sound - they have to set their rigs to how they'll be at live gigs and agree to NOT twiddle the knobs while you're trying to establish the settings you need. Given that they'll be giving up an evening plus the cost of the practice space it's best to get them onside first. You will deffo need to take a simple but reliable handheld recorder ... my preference is the Zoom range (H1, H2 or H4). Have it set up for recording the sound in the room (i.e. don't take a DI from your rig or a feed from the room PA) and keep referring back to it during the session. Sometimes the sound in the room is surprisingly different from what you thought you were hearing while you were playing.

They look like what they are. They've not had easy lives, they have had addictions and personal problems. Music was their recovery and it's transformed their lives. They're now living their dream, touring the world, selling out big venues, headlining festivals, selling number 1 records

For the 5 string miKro, it's a shame that Ibanez went with the '3 over 2' headstock layout common to the cheaper models, instead of the '2 over 3' layout you get on the premiums. Switching to the other template would have shifted the tuners for the thickest strings back an inch (measured roughly but consistently-so using GSRM25, SR655, SR1105 and SR1305) and probably solved a good few of the string choice problems related to the scale length. As it stands, I'm going with Dunlop super-bright short scales as I use the long versions on other basses and like the feel of them, and they seem to fit well enough with only a bit of the tapering - not the full thickness of the string - going round the peg on the B. That's the same as the Ibanez set which I found really rough, so not really losing anything by ditching those. Now I just need to order some NPS as I could only find plain steels in stock to test with.

A really great video about short scale strings. Sam x

It's been almost a quarter century since I used to play bass. Back then I had black Fender P-Bass and I have to say I really missed it. Hopped over to GuitarGuitar and picked up a new Player Series P-Bass in Buttercream. I'm so far out of practice that it'll be like starting all over, but it's sure good to have another of these beautiful instruments back in my life.

Isn't taste in tone very subjective too? I don't get why people are insisting on this being some kind of scam, resonance is a very real phenomena. It's basic physics really. That you can't hear the difference doesn't mean it isn't there, it means you have bad hearing. But maybe that is hard to accept for someone who consider themself a musician, so it got to be a scam. Also this discussion isn't actually at all about exotic woods somehow supposedly sounding objectively better, no one claimed that, except the people who are trying to make this look like a scam.