bassist_lewis

Also Evidence Audio. I follow the instructions and think I'm cutting them right but, it's hard to tell. The only thing I can think of is leaving too much of the copper core exposed.

I've had a recurring problem with my solderless cables and wondered if anyone else had the same issue and/or had a solution. A few times now the copper core has broken off inside the jack connector, rendering it useless. This is very frustrating because I now have a pile of jacks that I can't do anything with, and I loathe to throw them away. Any advice appreciated.

Took delivery of this beaut earlier this evening. It's a phaser but has a delay built in somehow (???). Sounds ace as a regular phaser but can get all weird and atmospheric pretty quick. The art work is also really cool, it came with a comic book and the instructions have a huge illustration on the back. I think, in Anderton's infinite wisdom, they sent me serial number 002, which is pretty cool. It's already on my board, replacing my Flashback delay.

I guess that depends what your dream is! For some people the uncertainty, poor pay and poor treatment is all worth it.

How have you been paid so little from iTunes (aside from, you know, capitalism)? A song costs 60-99p, do they take a huge cut?

I think one issue (among many!) is the nature of art: anyone can do it, which might be read as, if one person stops doing it for free, someone else will just come along and do it instead. I read an article many years ago that asserted that the reason musicians, artists and so on are generally paid so little is because there is no barrier to entry. The example they gave was of a surgeon: If you want to operate on hearts for a living, society better make damn sure that you know what you're doing! People don't make the same demands of their musicians, and you certainly won't be severely punished if you practice music without a license. Something that opened my eyes to the reality of the music industry came through friends who were acquainted with bass players who played with big name touring artists (one who played a Superbowl half-time show). When they weren't touring with these artists, they were hustling for wedding gigs, exactly the same as me.

Does anyone else just like looking at the wiring underneath pedalboards? Or is that just me?

My vote goes to: - Moog MF-101 Low Pass Filter - The 3 Leaf audio Proton The Moog is greasy and and squelchy, everything you'd expect from Moog, plus it has all the extra options afforded by CV ins and outs. The Proton is really clean, with really well tuned controls, and I'd say a touch more versatile than the Moog.

Where did you find a hardcase? The only one I found was a discontinued Fender one. I know you said you weren't willing to pay out for a Harvest leather gig bag but... it fits my JMJ perfectly. There's just the right amount of space at the top and it doesn't squeeze the tuners too much. Like a glove.

I was converted when I saw the video of Bobby Vega playing with a pick 😍 I use it for certain things, like if I'm doing a wedding and the song was played with a pick, or if I'm recording something and I want a clickier attack. Depends on the song/style

I got mine 2 years ago when they were first released and I gig it as much as possible. It was my first Fender and now all I want is another Mustang! I'm aiming to put some LaBella mustang flats on it when Bass Direct finally gets them in stock.

Always suspected that the concept of tonewoods was more about the listener than the wood itself. Josh Scott of JHS pedals has a YT channel where he was, on occasion, addressed various myths about different types of circuit construction and components, and explains how little difference they actually make, provided the components are the same values and wired properly. I think we like to romanticise and mythologise the gear we love because we want to rationalise why it feels so special to us, when it isn't rational at all.

I haven't listened in a while but my favourite live album is 'Live' by Donny Hathaway. Sounds amazing, amazing performances from everyone, especially (I believe) Willie Weeks on bass

From what I've read about intonation and pitch, it's about as subjective as our taste in music in general. Our common idea of intonation is based on equal temperament, whereby the piano is tuned so that it sounds in tune in any key. However, when it first started to appear in the late 19th century many people thought it sounded horrible and out of tune, which in a sense it is, but no one notices it now because it's what the vast majority of the Western world grows up listening to. Prior to that, pianos were tuned for a specific key, or group of keys, depending on the piece. What we now think of as enharmonic sharps and flats (i.e. G# and Ab) were also considered distinct pitches. The story of tuning systems is described in great detail in "How Equal Temperament Ruined Harmony" by Ross W. Duffin, if you want to know more. My point is, what sounds horribly out of tune to you may sound sonorous to someone else who is used to hearing it. That said, you'd think the bass player from one of the biggest bands ever would know how to tune his f$%&ing instrument!

it was implied 😉

Pr Pringles and a moog, what more do you want?? 🤣

I'm playing this for a friend's degree show (all remotely recorded unfortunately) but decided to throw together a quick jam over the mad time signature. Featuring my JMJ Mustang and the 3 Leaf Audio Octabve mkiii Skip Step upload.mp4

I recently tidied away all of the crap that had accumulated on my desk from home working and made a very effective practice spot. I live in a one bed flat so my "studio" is also my living room... and my kitchen (behind where I took the photos from). Luckily I live alone so it's not a problem 🤣

I feel vindicated to know I'm not the only bass player who also loves Lego 😂 @binky_bass can we get a proper picture of your collection?? 😍

Apologies if this has been mentioned before, but it might be relevant whether you play in one band or if you dep around with lots of bands. If you're with one band, then presumably the singer will sing each song in the same key every gig (though I have worked with singers who have changed the key in the same breath as calling the song!) so learning the song in a drop tuning is a bit of extra work at the front end, but you get to use the bass you like. However, if you dep around and play with lots of different singers who sing songs in all different keys, it might be easier to get a 5-string as when you change key all the shapes are more or less the same, just in a different position.

Wise words from @Doddy. There are standard practices but really its about playing around and seeing what sounds you can get and want to keep. Two YT channels you should check out are That Pedal Show and The JHS Show. They're aimed at guitar players but pretty much everything they talk about is transferable to bass. One idea worth playing around with, put your filter after your delay. It means that each repeat triggers the envelope a little, which sounds pretty cool. Have fun!

My JMJ currently has the stock Fender flats but I was considering getting a set of the LaBella Mustang flats. Are they darker than the Fenders?