Dad3353

Which is excessive..!

There's nobody here that could snag it on your behalf (No, not me; I'm in France, but ...)..?

Has this always happened, or is it a new problem..? If, so, what has changed since it last worked well..? With any active bass or guitar, in case of problems, the very first thing to do is to change the batteries for new ones. It might help, or it might not, but it at least eliminates any doubt, and gives a firm basis for further investigation, if needed. Nine times out of ten, it cures the problem, though, so do that first, I'd say.

That 'hardtail' Pacifica is a darned good guitar, and would be a 'keeper' if the lad bonds with it at all. It is the 'quality' starter guitar, with an alder body, good, reliable tuners, and no 'whammy bar' vibrato issues. The pick-up is excellent; not much not to like here, I'd say. If resale is really an issue, this model won't lose as much as is suggested; I'd suggest that resale is unlikely with such a starter guitar. I've buddies that have played Pacificas for years, and play 'em well. Well worth the outlay, I'd say.

the-bluetones-slight-return.pdf

This does not compute. There are only two wires from that p/u, no..? One goes to earth (so no buzz, naturally...), the other (the white one...) gives a buzz..? If that's the case, but no sound from the p/u itself, the p/u is dead. Is there a sound if you tap the p/u with something metal, such as a screwdriver blade..? When plugged in, volume turned up a bit, you should hear a harsh metallic tapping when you tap the pole pieces. If not, either change the p/u or get it re-wound. The ultimate test, if the p/u is to be removed anyway for exchange, is to connect the p/u wires directly to the jack socket. If there's still nowt, it's definitely dead. It's looking more and more likely, I'm afraid.

A drummer with well over half a century of technical electronic experience, though..!

Rules..? There are rules..? Bring it on, lad; bring it on.

There's a few simple tricks to try to see where the problem lies that you may already know... With the amp switched on and the lead plugged in, but not the bass, touching the tip of the lead jack plug should produce a buzz from the amp (assuming the volume is turned up a little...). This eliminated both amp and lead; if there's no buzz, leave the bass alone. With the lead plugged into the bass, and the amp switched on, (and a little volume...), open the control cavity. With a screwdriver blade, touch the lugs of the volume pot. The earthed end will remain silent, but there would normally be a buzz from the other two lugs, if the pot is set to max. If there no buzz at all, check the wiring between the pot and the jack socket. If you can identify the wire from the pick-up to the circuit, touching a screwdriver blade to each p/u connection should provoke a buzz. If there's nothing, check the control wiring. If there is a buzz, the p/u may be faulty. There's the simple, non-tech way of seeing where to look. If you're a solderer, it's also easy enough to undo the p/u wires and take them straight to the output jack; just make a note of where they were before changing anything. Good luck with the hunt; keep us posted as to progress, please..?

Fixed.

S'funny, because I have the impression that I've been hearing stuff like this for the last... well, even longer than that. 'New'..? Newly released, maybe. Still, if it pleases...

This 👆 is 'new music'..?

But the violin has evolved..!

Here is my contribution to the December 2022 Basschat Composition Challenge, illustrated with a picture chosen by the Master of Ceremonies: Lurksalot. A staple of our repertoire, I've cut out a little of the intro build-up, to keep to the time constraints. This is, in fact, a practice track for me, when the lads are not available. I need the signals from the vocal lines and guitar stuff, so I made this with MIDI instruments to play along to, using my e-kit and Superior Drummer 3. In fact two drum tracks are triggered, as I wanted to try thickening up the toms. Well it works for me, so... Thanks for listening, if you already have; if you're about to, enjoy, and Merry Christmas to one and all.

Yes.

Some bands were clever enough, or had foresight enough, to include the notion in their name from the outset. I give you... The Who..?

There's no money now in 'roll out the barrel' joanna-playing in pubs, either, or tap-dancing. The Wheel of Life has turned, and with turn further. It's not that I rejoice in any of it (I earned very little when I was playing professionally, which is why I had a day job and career...), it's only a factor of modern life, that's all. Farm labourers used to be everywhere, then tractors became a 'thing', and the jobs went. Not much call for miners now, either. I used to help out on a milk round, and baker's delivery; papers were delivered to the door by kids bearing huge satchels of morning press. If any of that exists still, somewhere, it's now rare. One adapts (or not...) and Life goes on.

Chippendale closed down, too, but people still buy chairs. Yes, I know about streaming, but I don't see it as being 'free' as you seem to. It's not 'free', just paid for indirectly. Musicians (or rather 'declared musicians' get a tiny sum for each play of whatever they've signed up to. Back in the olden days, a deal was struck and the declared musicians got a tiny cut of sales. Nothing has changed but the size of the cut and the volume of 'sales'. There's no-one to blame for any of that but those who sign the contracts. I could go much, much further, as I don't agree with the present idea of 'worth' and 'salaries' in any case, but that's a separate issue. If anyone is offered a bad deal on their music, it's simple enough : don't sign such a deal.

Now you tell me..!

No more than the craftsmen or women that made the tables and chairs need continual remboursement; without those, all would sit on the floor. No, the music should have a fixed price which, once paid, ends the matter, the same as buying chairs to sit on.

Recordings, when made, were 'live' performances; 'live' in a studio with no audience is all. Session musicians get paid for such work; others get paid when they sell the product (it used to be a vinyl record, then a cassette, then a CD...). They should get paid when they 'sell' it for radio play, or streaming, just the same as if selling a physical product, and that's the case, albeit a small amount per play. Those listening are not listening 'for free'; their listening is paid for by the advertising and spin-off stuff, otherwise the 'streaming' companies would have no revenue at all. It's paid for, but indirectly. For the record, I think it's a daft set-up from end to end, but it's not 'free music' at all.

How much do you pay 'per sitting' for the chair you're sitting on..? The musicians got paid when they played their music. Why do they need paying again every time it's played at home..? This 'gravy train' line of thought is the reason we're in this quandary.

Indeed; whilst they were playing music. Not much went to musicians sitting on their warm settee, at home, and why should it..?

It's a DeLorean..!

Typo fixed. ...