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Contact has been re-established with the school (staff turnover/changes in all the relevant booking contacts). Hopefully some positive news soon.

After a very long 2 months off in the hope my ribs would recover, we were finally back out last weekend. The Gifford Arms in Wolverhampton on Saturday was sold out. I was hoping for the same comedy sound guy as the last time we played there but unfortunately it was a thoroughly pleasant and competent engineer. Still, at least we sounded good but I don't have a lot to rant about! Sunday was the Hope & Anchor on a lineup supporting The Vapors. We were on at 5:30 pm which seemed very early to me but it was absolutely packed in there! I was forced to use the awful house kit. Obviously the bass drum couldn't stay still which forced a couple of errors. Thankfully my bandmates were tolerant of it this time! We went down a storm and we've seen merch sales online trickling in from London since. Result! It is so, so good to be back out gigging, even if it does still hurt a bit. Photo of my beautiful cymbals set up above the absolutely terrible house kit at the Hope & Anchor... Mini rant then: Imagine your band leader telling you that you have to use the house bass, and the A string tuner keeps slipping. You knew it was going to be terrible, you knew you could swap for your own gear in plenty of time, and yet you're forced to go with it due to others' ignorance. The band leader, the promoter, the sound guy, the headline act... everyone thinks it's fine to force the drummer to play sh*t drums but you're never forced to use a sh*t bass are you?!

Last night i played at local pub called "Depo" for 20 minutes (5 songs). A season together for 5 bands. We played good and all was fine exept that they didn't have music stand and i had to play standing backside and keep my sheet on amp.

You're half wrong / half right If you read a novel you've never seen before you can read it. If it's a kids book you could go stand at speakers corner and read it out first time to performance level. If it was a technical manual for something you have no experience of, containing words that you have never seen before, then there's a good chance you'd stumble over the pronunciation of those unfamiliar words. You might recognise parts of the work, like a prefix that is used for many things but perhaps not the entire thing. But for that kids book you are still remembering that when you put the letters "RALLIPRETAC" in the right order it says Caterpillar. Memory is necessary for reading. When you sight read something you have already played you are doing multiple tasks: 1: Reinforcing things you already know. Reading, even English, is a perishable skill given enough time. Reading things you know stops the memory files from degrading. 2: Building confidence in reading things you haven't seen before but have common elements. A common beginning or ending of a phrase or word (music or English) narrows the unknown element down. 3: Increasing your pattern vocabulary. Within a set key signature there are a limited amount of correct notes and so within a bar there is a limited way of setting them out. So just as every novel will use the word "and" there will be very common note progressions in a wide variety of music. "And" is a pattern of 3 phonetic sounds that your brain knows how to say as one word. A run of Root, 5th, Octave is a pattern that once absorbed as a pattern and the brain just plays it effectively as one instead of loading up the brain file for Root then 5th, then Octave. Reading or memorising is a bit piece dependant. Reading a Uriah Heap (or U2!) bass line is probably all memory after a few goes, so at that point the player is probably using it as a crutch or building confidence. Reading a Kyle Eastwood bass line is going to be more reading than memory, at least for a longer period. A Paganini violin piece is going to take even longer to remember. It's just more complex. We can all memorise a 4 line limerick. Not many of us can memorise The Odyssey, but we might remember little bits of it, here and there. The entire point of sight reading practice is not just the "reading" bit - it's to develop an internal vocabulary of phrases that can be accessed accurately and quickly and with enough confidence for performance. When you read a novel for the first time you are still using your memory - you know every word already but not the order that they will appear in, and this is the thing - your brain can predict future patterns. It knows that "and" is not going to be the end of a sentence. It knows that if there is a sentence of "It was the opinion..." then there is a really high chance that the next word is going to be "of" and the brain preloads that word before you get there. The same happens in music with practice. Music is a language just with different symbols for the alphabet and different rules of grammar and syntax. People progress with learning music in this way make far quicker progress - they know how to do it as they did it already for their primary spoken language. Bedtime reading with kids for 10 mins a day rather than just doing 2 hours in a Saturday is far better and it is for music too. As for different instruments, a lot of that is the instrument itself or the limited range of an instrument. Most bass transcriptions are just in bass clef even when playing high up the neck, the sheet will just have a load of ledger lines on it instead of showing the treble clef as well. Just because I know where the B is on a bass doesn't mean I know where it is on a tuba - reading on a particular instrument is not just reading the notes, it is the link between the page and the movement of the fingers or mouth or both. Without that link the reading skill is weak: it needs to become as instinctive as catching a ball. I can play a little piano and I can read the bass clef for piano, but I stumble on the treble because I don't do it enough. So my left hand is pretty accurate but my right is a disaster. A classical composer can read and write to an astonishingly high level: on the paper. That does not mean they can walk over to the violas and play their part on that particular instrument, even though the composer could play it perfectly on the piano or something else. Pushing the novel analogy to frankly idiotic levels: I can write an exciting ninja story. Doesn't mean I can pick up a sword and fight. But there will be a martial artist who can't write a good story but who could act out what I wrote, perfectly. I think a lot of people who do play many instruments who say they can only read for 1 of them are probably applying a personal standard to it. I'm sure a lot of them could sit down with the part and work it out by reading it, but not to a standard equal to their main instrument. It does remind me of a thing Marcus Miller once said - that in his experience the very best bassists he every worked with were all great piano players. The piano really is the biggest teacher of theory and harmony there is because of the vast range of the instrument and that 10 notes can be played at once. A final thought: There are pieces that exist that even Yo-Yo Ma couldn't perform perfectly the very first time he saw the sheet. Just like the Technical Manual example above there will be many phrases (words) that he can do easily, maybe even 95% of the tune and then there will be something that is brand new to him, or has a pattern/progression that he's never seen and is outside his personal prediction vocabulary for that key signature so he'd really like to practice before getting on stage.

If a restaurant in a big city sold single baked beans on a cocktail stick for £2.00 each, some epicurean would be saying they were divine. Again it's all subjective and there's this correlation between price paid and justification. Charge £500 for a bottle of red wine vinegar and there'd be people queuing up to drink it, all saying it tastes delicious. I'm reminded of this:

What's wrong with American cars?

It’s a trade that’s been on the wane for a long time. It seems Less kids are picking up instruments, when I started - it was the crest of the Britpop era and it must’ve been a booming time in the industry. The internet unit shifters started taking out the shops with lower overheads so didn’t need to generate as much profit to operate. Amazon, same or next day delivery on strings/cables etc - sort of where the bread and butter of guitar shops lies. I did it for 11/12 years and got out in 2014 - it was definitely going downhill then. I think the company I worked for lasted for another 4/5 years… I’d assume GAK will continue to operate online if the shop side goes. The second hand market is saturated - stuff seems to be sticking around more. So if fewer people are buying used, I’d say the same goes for new. People have less money; I know I do after energy prices jumped and mortgage deal ended… It’ll be survival of the fittest I suppose - much like supermarkets killed off the local bakers and butchers…of course there are still small pockets with loyal fans or something unique to offer…but the general public…will just nip to Asda. Convenience. Ramble over - hopefully they get sorted, I know Gak was originally the place people would ask us to price match, scalping prices all over the show…4% margin on a USA strat…but, there are peoples livelihoods at stake, that’s not ok.

I recommend paying scant attention to announcements about tariffs and much closer attention to the details of tariffs that are actually imposed. Call me old-fashioned, a fuddy-duddy, an amoral individualist if you insist; but I am generally in favour of designs that do not require passengers to read the manual in order to deploy basic safety features such as opening the door from the inside. We aren't cats, which long ago figured out how to get others to open doors for them in all circumstances.

A new family picture of my 3 Wals together with a new born Claassen bass which I made myself. if you’re interested, here’s the build diary of my tribute to Wal: Wal tribute build diary

What do you think of this one? It's a cheap repro off ebay, so they can be found cheaply, but I think I got lucky with the colour. I had it on a MIJ reissue and it looked rather good. The bass for comparison is a '73 with original guard. Rob

Last year i've been working on a Wal copy bass. As Wal basses are my absolute favorite and i am the happy owner of 3 Wals (two MK1 basses and a ProIIe) i was wandering if i was able to build one myself. Since 2018 i'm following a luhiers education (6 hours a week) at the CMB in Puurs (Belgium). I allready build an acoustic steelstring guitar (Martin#1 copy) for my wfie so now it was time to treat myself. This Wal copy ofcouse needed to be an extra addition to my collection. Since i have a fretted Mk1, a fretless MK1 and a fretted Pro (which has a more vintage sound compaired to the MK's ) my weapons are quite complete. But they are all 4 strings ands sometimes i miss a low B. Since i prefer 4 strings i've decided to build another 4 string but tuned BEAD. To make a plan i disassembled my MK1 and measured everyting. Last week i've completed it and it feels and sounds damn close to my other Wals! Here are the specs: Mahogany body with ebony facings (maple veneer) Matching headstock Maple/mahogany neck Ebony fretboard Danish oil finish Lusithand Double NFP special MKII preamp Turner Multicoil Pickups ABM bridge Shaller tuners Handmade potmeter knobs and output.

Remember, these tunes are just so you can access a transcription of the single tune you are learning. They are here as source material for developing your reading chops. I remember when I was a kid trying to learn to read music (1970s), there was nothing to practice on other than books that had 'Campdown Races' and 'Oh My Darling Clementine' as practice material. Even the books like Simandl had nothing that us Rockers could get excited about and all the good stuff you just had to find your way as best as you could. If you live in a rural Welsh town like some of us, there was no mentoring - you were pretty much on your own. Now you have BilbosBassBites!

I think you`re right, why should anyone have to put up with sub-standard gear when you`ve brought along your own better stuff. In my last band the drummer used to regularly suffer with provided kits, especially felts/nuts on stands, and the stools. A good heads-up though, as we`re playing there in a few weeks, I`ll let our drummer know.

All really good choices. If I was in the market for a 4 string jazz, I would definitely buy @jay-syncro's Sadowsky!

"Yes, M'lud, my client ran over the pedestrian whilst texting. But, as you weigh sentencing, I ask that you consider all the pedestrians he managed to avoid whilst texting."

Last night, had a rehearsal with the originals band then straight off to the Shirley British Legion as a friend of mine that I used to be in a duo with some time in the 90s had said he'd be there - he's been very unwell, and lost his wife a few months ago, so I wanted to see him. He was there with another friend, the widow of the organiser of another open mic which I became the house bassist for and which introduced Mrs Zero to singing in public. The evening was finished off by Kevin getting me up to accompany him once again, which turned the clock back very effectively.

Without a doubt. But very few of us are paid exclusively for things which only bring us joy. I am actually in the privileged position of enjoying my job, but there are many aspects of it which I would happily trade for sitting in a theatre pit playing Fame.

Trump has now had a rant about autism and how it's much more common now than 20 years ago but it's OK, he's getting Bobby to look in to it. I guarantee that what Bobby won't find is that we're better at diagnosis now. Its no more common, it just less cases going undiagnosed. What he'll probably find is that autism is the fault of Biden and woke.

Actually - this thread has dredged up a memory. At one gig for the Music Trust for the younger students one of the about 15 years old students from the rock band came up and said "Our bassist is sick and can't come. Can you fill in?" I said "Depends whether you've got the sheet and I can muddy through, or if it's something I know already" They had played a lot of new modern metal stuff I'd never heard before. He said "It's from a really old song called "Enter Sandma....." I said "Don't worry, I've got this." While dying inside at the "old" song bit! (Obviously the 15 year old drummer was better than Lars )

Well, the Classic 5 arrived this morning. I immediately took it to my trusted setup guy. New strings and a setup and it was perfect. My luthier works out of the shop where my buddy works. They have a very righteous bass department. They also have a new Growler and Killer B. While my Classic was being sorted, I had a run with them. That Growler was so light. I've never held a 6lb full scale bass. The tones were cool. But probably really not gig worthy. Too light. Felt like was gonna break it. But for a studio bass there are a lot of sounds in there. Then I tried the Killer B. Oh my... Tone. Feel! It's all there. So! I wanted a real case for the classic and of course Gator cases are everywhere there. So I got me a nice hardshell case for the Classic. Then I turned around and bought the Killer B. Crazy day too say the least. 2 new Tobias Basses in one day. And yes, I bought a second Gator case for it. Gonna be spending the night switching from Classic to Killer B. I will post pictures and a NBD later. Been a busy day. Time to chill.

Iv'e always been a traditional Passive P bass (etc) type player, but ive got the urge to get my mitts onto something a little more modern. with my Tax rebate looming i fancy something "new" ... i know "better bang for your buck buying used" etc , and i usually do . but this time i fancy something fresh and new. Iv'e narrowed it down between these 2 https://www.cortguitars.com/dp/a4-ultra-ash/ https://www.ibanez.com/usa/products/detail/sr1350b_1p_02.html both have glowing reviews and both seem a lot of bass for the money. just wondering if anyone here has had any hands on either that the can give me a opinion , pros/negs cheers 🙂

Spunk Anansie

You should have used the Elvin Jones trick of nailing the front of the bass drum to the stage floor! Worst house kit I've ever used had a split snare batter head held together with duct tape... I've learnt since then. Always have at least my own pedals and definitely my own throne or I'll get back ache, plus a spare snare head! I don't mind so much if the kit is ok but why insist when there's enough time to set up your own kit?! I've just invested in a nesting kit in bebop size to make the load in & out easier in the hope that'll persuade venues I can use my own with a minimum if fuss.

If it's half as good as mine it will be the last bass you buy.

I've used one as a headphone amp for a long while, nothing to write home about especially IMHO but does the job and works well as a DI in a pinch.

Farter the Unstoppable Sex Machine

Nothing different really just adding the inverter in. You could use a LT1054/1044 instead of the the 7660s, just don't connect pins 1 and 8. Slightly odd design

I'm just getting started on my comparison of the Killer B V and Classic V. But on a softer note, the Growler. I spent all of 30 minutes with it so it's not very in depth. Sonically it does sound cool. Multiple coil adjustments make for quite the tonal palette. It was so light. But the neck has all the weight (you already see where this is going). Yep! Neck dive. Holy crap on a cracker neck dive. A good strap may help but IMO it's a deal breaker. But do not dismiss it. For studio work sure. Live, I would pass. As of right now I'm toying with the Killer B. Figuring out the EQ. This bass wants metal. I should have gone with my tried-and-true D'Addario Half Rounds. I opted for nickel round D'Addario's since they worked so well with my G&Ls. But I also know these strings are barley 24 hours old and some break in should mellow things. Also, I get regular interruptions from the construction crew. That tends to cause track changes. What they're doing will be for another post hopefully soon.

From fires? From defective autopilots? From design flaws? Or is this statistic misleading?

I entered a Rubbish Car giveaway on Facebook, for a Morris Marina. Luckily, I didn't win it...

That's OK then. Only 24 died for other reasons.

Not yet, but the trigger will be pulled sometime today/tomorrow, as according to the wife, I either use it or lose it. I'm after a 60's style Jazz and have my eyes on @jay-syncro Sadowsky, Richtone's American Vintage II and BassBro's 60th Anniversary. Although I would be equally happy with Jays KSD Jazz and have enough cash to buy other shiny things to play with. I suspect the final decision will be when the boss puts her foot down and if she wants whatever I don't spend back.

Alternatively this is on ebay at the moment? 😈

Here's the Bart MK1's in a different Cort bass, this time with a Cort Preamp'. Please give the channel a follow and the videos a like, we don't charge you for our reviews, so it would really help us to boost our reach with some support! It would be wonderful if you could click this link and subscribe to my own personal channel that I am hoping to put loads of material, outakes and deep dives on in coming weeks. PLEASE ❤️

I would personally be very reluctant to start butchering a commercial cab, if you come to sell it you'll lose a lot of value. How about a floor monitor, you wouldn't need any bass frequencies as you can hear them already so it could be quite small, even something like a Behringer B205 might do it at a pinch.

In the old days, beer crates borrowed from the bar staff used to work for me. If I couldn't hear my cabs standing right in front of them, I'd be questioning why I'm using those cabs. I use 2 Barefaced 112 cabs which have such good dispersion that while they are pointing at the lower half of my body, I can hear every note perfectly.

Check out the Guy below on eBay. Very good looking, well made and quite ‘opalescent’ - about as good as you can get without paying hundreds of your finest British pounds on an Avant Guard jobbie from France👍👍

Drilled and parts set in place. To the bench this weekend, and I'll have a couple weeks to make the sleeve look like something.

I was the same with my XL2, just the one bass. The B2A can be easily resurrected by making it passive, 3 pots and a cap, maybe $20 and 1/2 hrs work. Whilst you're at it, add a strap pin extender and thrust bearings on the tuners to make the easier to turn, maybe another $20. As well as the XL2, I have 2 B2, a B2V and a Spirit.

And of course myself testing it.. Soundclips will follow!

The family picture

Reading is big and clever. However an awful lot of written bass guitar parts are written by people who are not bassists and do not understand the function of bass. Expect lots of left hand piano parts etc. Reading for popular music is sometimes about taking the pitch but editing the busyness.

How long have you been here?