vsmith1

[quote name='bassbiscuits' timestamp='1428829713' post='2744835'] I had this exact experience last night - and I'm so bad at taking compliments. A guy came to tell me how great my bass sound was etc and I just ended up waffling about my gear and awkwardly saying how I never get to hear it from the audience point of view etc. Nice to have some praise I guess. I need to have a better response tho! [/quote] +1 I had this on Saturday night, and I did talk about my new head (Carvin BX700) and its EQ, blah blah. But he did say that we all sounded great. I thought that I sounded pretty good as well. Not bad as I was standing about 0.5m in front of the rig.

Don't get me started on this.... Too much American TV is my theory as to the source of most of the annoyances. Even worse because I work for a global company whose headquarters in in the USA. So some examples: I'm good - just does not sound right Good to Go = I'm ready Pick vs plectrum

Worried by the fact that our band do both Moondance and Teenage Kicks! Anyway I started with Moondance following http://www.how-to-play-bass.com/songs-moondance.html and have over several years "varied" or "customised" a little. Gave me a good start though.

I use OnSong on an iPad 2 mainly. I create my own chord charts usually grabbed from Ultimate Guitar (YMMV of course). OnSong can scroll automatically in a timed manner so that for a long chord sheet you are not trying to turn pages. Though I did try using a Behringer FCB1010 MIDI footboard and having my iPad in a Behringer iS202 iPad interface and then defining a couple of the foot switches be page on and page back. There are many other options.

I can't see much point in buying a relic. I also agree that buying a new bass is all shiny and stuff until that first scratch, ding, etc. and that is a first hurdle to get over. I have the same with new car, new bicycle, etc. That first scratch is the barrier. I think that I'd like to see my history written in my own instrument - I'll not do my own accelerated relic though.

Reminds me of "There are 10 people in the world who understand binary"

[quote name='Kev' timestamp='1422191784' post='2669618'] Hmm, I would expect closer to £279, given the way the pound-dollar usually works for us. £249, perhaps, which would put it above its competitors. The Scrambler side needs to be good to justify that, for sure. [/quote] Just to be pedantic, few American's will actually pay that price as each state applies sales tax. So that price is before sales tax and therefore also before VAT. But agree that it needs to be competitively priced against Sansamp, 3Leaf, etc. I like the headphone socket as well.

Wary of sounding like a numpty... I have my vol at about 75% and adjust my amp to give the vol I need. I have the capacity to adjust for so boosted moments. Also I find that I need to boost a little if I am on the bridge J-style pickup. [Do I need to adjust pickup heights?] As regards the tone, then I adjust it a lot depending on what song I'm playing, like roll off the tone for older style songs, or roll off if using a plectrum. Context for this is I'm playing covers and the band has a wide variety of songs and styles, so I don't have the same settings throughout the set list. On my amp, I have a footswitch operated mute, but also turn the vol right down at the end of sets, sessions, etc. Just have the habit formed to check that the vol is up. I use the Mute on the BH250 and built-in tuner or now with my new BX700 a tuner pedal.

+1 for Five Years Also Oh! You Pretty Things Hmm...Gail Ann Dorsey lays down some mean bass for Bowie - I hope it goes well for you.

[quote name='neepheid' timestamp='1422303419' post='2670979'] Just cut mine down. Can't stand it when they get too long and get in the way. [/quote] +1 I keep the nails of both hands reasonably short. I also switch to a plectrum when the song needs it (or my fingers can move fast enough).

I have no problems with a wedding ring. But I dislike wearing a watch when playing. Every time I see a picture of Glenn Hughes I wonder - especially with the bangles around the wrist. No wonder his basses looked very heavily worn.

RIP - saw TD in mid 70s - always stayed with me. Got me into a whole load of German stuff - Schulze, Ash Ra Tempel, etc.

I think that some desks may have Inserts on each channel. These normally have a TRS so that the signal from the channel is sent out to a in-line processor then back into the channel via the same TRS Insert - normally an Insert cable is a Y- type with a TRS jack splitting into two jacks. Of course you could just partially insert so as to take the out from the Insert. Personally, our desk doesn't have Inserts and live I'm not sure I'd like partially inserted jacks - seems like a recipe for disaster.

+1 on the demos of kit involving too much slapping, and I'd add soloing. I mean a demo should reflect what we do - and for most people most of the time it is laying down that groove, nothing fancy just solid, etc. Also in regards to many YouTube vids then what we are most interested in the sound so why is the recording the last thing on the mind? I mean some of them sound like they are recorded in a shop or bathroom - poor quality, argh.... Just step away from the soapbox...

I am reluctant to go with insulation tape as the glue comes off and gets all sticky. But there are some great ideas above. One thing I have done recently is, just for marking my leads from others, is that I bought some cheap Asda fingernail polish ( £1) in bright yellow (other colours are available). Then I have dabbed a small dot on the plugs of the cable. The colour identifies them as mine and it is cheap, seems long lasting. I have used velcro cable ties in certain colours. YMMV I have bigger battles with the rest of the band coiling [my provided] PA cables properly!

Reminds me of school having to tuck in ties when doing metalwork to stop getting throttled by ties and lathes. There's a good reason I like lights on power switches - I can see if I've turned them on. I even have power strips with lights.

We finish with two old Beatles: Rock'n'Roll Music and I Saw her Standing There and then Clapton's Wonderful Tonight. I'm trying to get our lead vocalist to introduce the last with the cheesy sentence starting "You really have been...." We have perviously used One Day Like This (Elbow).

The size is on the web page on the Sizing Guide tab at 490x260mm. Personally I have a SA Bass MWD, BEF, MXR Bass Compressor, Corona Chorus, SYN-5 and a Diago PowerStation and they fit nicely. I used a drawing app on my Mac to plan out the pedals (to scale) and then went through the various sizes and ended up with the Gigman. YMMV

So much true here. Makes me feel like I have empathic company. My thought is that our keyboard player learns by ear (all credit) - much better ear than I have; but learns to play the whole song - whole in terms of the sonic spectrum, so when she comes to a band setting - she is overplaying. This not only affects me for all of the many reasons above but also the guitarist. She has often been found playing unison with the guitarist - like on Rolling Stones songs! Thankfully the guitarist managed to "encourage" her to stop that. I'd rather she played for the song in the band. But she could split the keyboard into two voices and play pads on one side and melody on the other. But she's rather technophobic, so that won't happen. I'm actually thinking of for some songs playing the pads from my iPad using ThumbJam. Wonder how that will go down?

Bought a Carvin BX700 head from Martin. Great help in organising a friend to transport closer to my area of the country. No problems at all.

I'm now feeling that even after 5 years our band is more "immature" than many of the stories told here. We started, once I'd set it up, with a Google Sheet shared between the band members to suggest, then score (1-5) songs for inclusion. We all, myself included, suggested songs that a) liked playable c) for me personally - I wanted to stretch myself - so sometimes wanted more technically difficult bass lines d) dance-able - as we are a pub covers band. Well that lasted about 3 years and many things got picked up and done and then dropped. We are a mix of people with a wide variety of tastes. Our drummer is very WOMAD-oriented so a lot of obscure stuff; the key/BV has a more folk/country/pop; I'm more rock/blues/funk; the guitarists wants an easy play (he has little time for practice) and the singer wants songs she can sing and wants to sing. I think that's a recipe for either great compromise or tensions. The answer has been both. We have a set list that features 40+ songs that we do in a gig. So pretty much I think we have succeeded. Nowadays it feels like that the singer has a casting vote/veto - the "if I can't sing it then we shouldn't do it". I confess that I have as about as much knowledge of modern (chart) pop songs as I have about the words in the Magna Carta. The only time I get any exposure is via Later...with Jools - which is variable. YMMV