Jakester

Why not just use matching veneer to fill the slots?

The Roland SPD WAV pad is a sort of one shot trigger pad. It can be triggered using your foot (their other products include percussion pads in the same form factor and they demo them being used as stomp things for acoustic guitar players). You could load up to 12 samples in and switch between then and just trigger with your foot if needed.

You may end up having to pay import duty if you bring them into the UK from Denmark.

I think you're just being deliberately obtuse for the sake of it now.

Bass is my second instrument - this 'area' is actually my first. Why should I 'stick to my area'? I enjoy playing both.

Website suggests it does once a week; it certainly used to, but then changed hands and stopped. No idea what sort of thing it is though. Just to add the final little touch to this sorry saga, out of the blue the chap organising told me he's 'managed to find a bass player for the gig' so my friend isn't needed any more. Needless to say I've had to make profuse apologies (which thankfully were graciously accepted). That's the last time I try and help anyone with deps!

Well, if you read the first post, no-one is/was getting paid, then the organiser suggested giving some of the "money behind the bar" to the two who travelled from the West Mids. I've done hundreds of gigs where sometimes we get paid, sometimes we don't. The pay isn't of itself the issue here. I'm comfortable with no-one being paid, I don't mind if he takes the bar money and gives it to the two Brummies, but what I slightly object to is then refusing to give a small amount to the dep that's doing a favour.

I'm not sure what this has to do with the specific situation set out in the first post? It's not an originals band or a "vanity project".

I think this puts it fairly succinctly.

As I said - that's a different discussion. Happy not to get paid in this particular instance. My issue is with what money there may being paid to two people only for expenses, and then when someone is doing us a favour and will have some small but genuine expenses, he's told "nope".

Yes.

Oh, yes, that's a whole other debate. I'm happy enough not to get paid for this particular gig - it's down the road, lots of friends drop by, it's not too late etc etc. I know the pub's making a killing out of it but given how often you hear of pubs going to the wall, it's hard to begrudge this particular one the extra money.

I was just wondering if I could sound out the collective on this situation: I have been doing some jazz gigs with a band; it started off with three main members who all used to work together, and I was invited to play bass with them as I know one of them. There are also other people who come and go from time to time. It's nothing special, just playing standards in a local pub. Two of the main three live in the Midlands, the rest of us down here in wurzel country. However, it seems to have hit a spot because each time the pub is rammed, and so last time the landlord told us he'd put £100 behind the bar for the band. Of course, with most of us driving that was never going to be used up. For the next gig, the chap organising has suggested that we instead ask the landlord for that money, and pay it as expenses to the two who are travelling. Now, I don't really mind that - it's a low pressure gig, nice crowd, I'm learning as I go to play jazz so I'm not so fussed about it. However, one of the two who are travelling can't make it, so I've agreed to play his part and have asked someone I know to fill in on bass for me. He, not unreasonably, asked if there was any money/expenses for it, and I said I'd ask. I was told by the chap organising that he'd spoken to "the others" and they'd decided "it wasn't fair to pay one person, and the money should be used for travel expenses [of the other two]", so no, there wasn't any money for him. I presume that means that the one travelling gets the lot. Now, this seems a little unreasonable to me; my friend is doing us a favour - although he's local, he's from the next town along, so will have to travel so will have *some* expenses. My friend accepted this as he wants to do the gig. I mean, I'm not going to blow it up or have a rant at anyone about it - but does this seem a little, well, unusual, to anyone else?

Ah, this is really sad. I missed this when it broke and only noticed the post yesterday evening. I first had contact with Nick on here, when we did a convoluted trade involving one of my family members acting as courier - it all went fine and he was a gent to deal with. It then transpired I'd unknowingly met Nick (in his capacity as OHM) on many occasions - we used to work for the same firm, and first met playing cricket for that firm. It was only when Nick complained he'd broken his finger keeping wicket and might struggle playing his gig that evening that we made the connection! I was then lucky enough to play drums with him on several occasions - highlights included winning the Bristol 'legal battle of the bands' (bands from local law firms, not an officially-sanctioned contest!) and then after I left the firm, being roped by Nick back into playing with a band comprised of partners at their annual conference. That involved a glitzy hotel in the City, full hired-in professional backline, and a room and food too. We'd spoken on-and-off about putting something else together for years but we'd never quite managed to get it to stick. I hadn't spoken to him for a while though and didn't realise he was unwell. Terribly sad for his family and friends - he'll be sadly missed.

Actually, looking further into it it's 'one effect at a time', rather than the Stomp 'create a patch', so would just be like putting a different stompbox on the board each time. What I was hoping the Stomp could do would be to have electric bass patches e.g. 'normal', 'drive', 'synth', 'octave' etc but each one also have the same preamp, eq (as appropriate), parallel clean (switchable?) DB channel into the shared HPF and compressor then into the amp, so basically cutting down on all the other pedals. Seems like the HX One is a much smaller version of the HX FX.

Actually, having read the above, and looked into it a little more, I reckon a HX One would do the job perfectly as I wouldn’t be looking for the amp sims or IRs. Interesting… <edit> actually, looks like you may not get the dual input control that you could get with the Stomp. Still, might be good to replace some of the separate effects after the Tonebone.

Ah, decisions, decisions. I have a pedalboard setup that I'm happy with, and that can just about cover most things I'm called to play. However, it's got quite a few pedals on it, some of which are only ever used once or twice a year. There's also the inevitable faff if a cable comes loose, or you get an unknown buzz etc etc. I'd idly been thinking about whether I could simplify everything by using a Stomp and setting up patches equivalent to the pedals I use now. So far, so straightforward? Well. I also double on DB at the same gig, and sometimes during the same song. The songs that do use effects use chorus, or octave, or dirty synth sounds. Current setup as follows: Tonebone OD --> C4 --> Whammy Ricochet -> EHX Freeze -> SFX Micro Thumpinator --> Keely Bassist I have a DMC Micro connected to the C4 to change the patches. I tend to use the OD on the Tonebone if needed, though I have some grindy patches on the C4; it also does a good chorus, octaver and synth (natch!) if needed. The Freeze is good for sustained pedaled notes where I'm not on the DB, and the Ricochet is useful if I'm using a different patch on the C4 and need to go octave up or down (and also can be fun of itself for fills etc). What I'd probably need to do with a Stomp is set up two parallel paths using the L/R inputs; one with the effects etc for the electric bass, and one straight thru/or with EQ and HPF for the DB, and then combine them out to the amp (possibly with a compressor). Would a Stomp be able to do all of those things in a user-friendly package? I'm guessing the HPF would be able to be inserted anywhere (instead of where it fits on the pedalboard!), and I could use the DMC Micro to change patches as do now. Or am I just looking for a shiny new toy and if it ain't broke, don't fix it?

Bought a Stanley Clarke CD from Mick - great communication, and arrived quickly fine. And it's a great CD too!

Let’s hope no hide glue or bone was used in the construction of his guitar!

I did wonder how they could actually coordinate rehearsals, as no-one will want to be tracked by 'the man' by using their phones, and presumably using powered speakers is out as a result of the effects of electromagnetic fields... I think the prospects of "a gig" would seem pretty remote!

I found mine is very sensitive to any noise in the signal chain; I mean, I know how a compressor works and it is certainly way better than the TC Electronic one it replaced, but I was using more gain owing to a change in preamp pedal (it only has ‘cut’ eq, no boost) and over 12 o’clock on the Keeley gain it really magnified a *very* slight hiss. Took me ages to figure out what it was, too 🙄

From the manual: "4.4 Strobe mode In Strobe mode, the difference between the correct (target) frequency and the actual detected frequency is displayed by twoi ndicators simultaneously: 1. Red LEDs to the left (pitch too low)or tot he right (pitch to high)of the center LED column 2. Rotating segments in the display. The closer the detected frequency is to the target frequency, the slower the rotation. Tune the string until the rotating pattern has come to a stop and only the middle column of green LED lights up." You did read the manual, right? 😉