zero9

People still use paper, I though it was all iPads these days The band in the foyer at a recent Gabriel gig each had an iPad, clamped to their mic stands. Even Peter Gabriel and his crowd used screens on stage.

Yes, iPads do come with Garageband. I'm considering Cubasis for iPad, as it offers multiple simultaneous input channels (depending on the interface).

I don't think you can rate creativity. You can be creative with existing songs and cover a song in a unique way. There is as much creativity in covering existing songs differently as in creating new stuff. Just because someone's creation is a multi-million seller and another doesn't making out of the local pub, is sometimes little to do with creativity but more about having a formula and being also very commercially aware.

Have you thought about recording to an iPad? This is also a viable option, especially with cubasis. Very portable and no disk / fan noise to worry about. Plenty of iOS compatible interfaces and cheap software. I'm planning to go this route in favour of PC or Mac.

I drilled some test holes on a waste piece of hardwood first, to ascertain which size of drillbit worked best for a particular screw. I would then position the tuner or string tree and mark the holes with a sharp pointy object. Use a pillar drill or similar if you can get hold of one, as it gives a much easier and accurate experience when drilling. With a handheld drill it's hard to center on the hole, difficult to get the drill perpendicular to the surface and the drillbit can get stuck more easily. I also put some masking tape over the surface being drilled, which helps for marking out and minimises damage to the surface around the hole when drilling.

A certain Mr Palladino used to use a MM 'Ray. AFAIK, he's a thoroughly decent chap

Get an app for your phone. You can then use it anywhere, anytime, and will be able to monitor your progress.

Surely, if someone can use a camera, they can adjust an EQ

It depends who's paying the sound man (or woman). If the client's not happy with the sound or setup, the sound person needs to sort it (notwithstanding elements beyond his / her control).

Even the punters know he's a rubbish drummer, thus not an easy one to 'fix'. Unless you're desparate to be in the band for the company or the money, you're better off putting your energy into something else. I was asked to join a band once and went to see them first. Although the drummer played in time, he had an anoying 'double' roll thing going on his snare, which stopped me from joining.

It does look a nice piece of kit. If they made one with a mic input and 48V as well, I'd go for one. For double bass / acoustic instruments, having the mic option as well would be superb.

Most bass cabs won't produce the fundamental frequency of a low B. Stick with the 4 and get an octaver. Fivers are the work of the devil

Same height. The string excursion at the next fret (1st fret) will be minimal when the string is plucked.

If you like the bass so much and it feels right, don't get rid. Sound is often 'in the head', thus I recommend you persevere a bit longer. Does anyone else in the band feel that the Dingwall doesn't sit well in the mix or sounds too clinical? I often go through a phase when my bass doesn't sound quite right, only to pick it up the next day and it sounds great Go figure.

[quote name='JellyKnees' timestamp='1417179169' post='2617831'] Best 'big gig' live sound I ever heard by a long way was Peter Gabriel at the Mancheter Area on his Growing Up tour. Stunningly clear, bass included. I was on the front row admittedly, so maybe it wasn't so good elsewhere in the arena, but still a benchmark live sound for me. [/quote] I've always been impressed with the bass sound at Gabriel gigs. I was expecting good things of the PG So back to front tour and went to the LG Arena yesterday. The bass was too low in the mix and lacked middle, making it indistinguishable most of the time as it was trying to compete with drums and keyboard sounds. When Mr Levin picked up the Stick, you couldn't hear that at all. Very disappointed with the low end

Do you have the same problem with the electric bass? If not, the problem is with the BSX. Have you tried running the BSX through something else, including headphones? This might help isolate the problem.

Learn the scales and the notes. Say / sing the note names as you play the scale. Tough to start with, but after a while they'll stick.

Status premium roundwounds are smooth, slightly lower tension, and great value for money.

Money is better invested in gear rather than audio engineering courses imo. As already stated, the best way to learn is to spend time actually doing it. There is plenty of free information available on building studios, and there are some really good threads on Basschat about this. You don't need an acoustics degree or to necessarily study acoustic to build a good studio. I would start with textbooks on the subject before embarking on a course, unless you really need a qualification or certificate.

The other option is to try one of the Squier Jaguar basses, rather than mess about putting a different neck on your current bass. If you like the feel and sound of those, you could always trade your current bass, which might be a cheaper option.

Purchased an AI ext cab from Rory. Smooth, hasslefree transaction, a gent to deal with.

You're welcome. Thanks for the great blog.

[quote name='CamdenRob' timestamp='1415977512' post='2605798'] Nice of Damon Hill to drop by.... [/quote] My pleasure It makes a pleasant change from all that driving, and Basschatters are much more civil. Wil (aka Zero9 aka Damon Hill)