fretmeister

That's great news. I hope you enjoy the new job.

I do this a lot in my band. I don't use different EQ settings on the amp or a pedal but if I'm playing a 2 pickup bass I often change the pickup balance which is kind of the same thing. On a P bass I might tweak the tone pot on the bass to allow more treble when slapping. I use a Boss BC-1X compressor. I have been really impressed with it. I've had the Origin Cali76, the Empress, DG Supersymmetry and other high end compressors and I like the Boss the best. It just works better and it's a lot easier to dial in. There's some magic going on inside to prevent the dip and rise volume that some compressors do and it is really quiet in operation. Only downside is battery life. Current draw is very low for a digital pedal but 9V batteries are expensive so that needs to be backup only really. Power supply all the way!

The loudest fan I ever had was in the Mesa Prodigy 4:88. The fact that an all valve amp was built in a way to need a fan was really stupid. Even then the fan itself was a really cheap piece of crap in a £2500 amplifier. It looked no different to any other PC case fan. An extra £20 and it could have had a BeQuiet or a Noctua fan with hardly any noise at all. Nobbers.

Specs are very similar to the Aguilar 60s version and the Aguilar is quite a bit cheaper.

Secursus They don't cover ebay / reverb stuff, but for forums and other private non"marketplace" things they do.

And this time there is a bass version of the GK-5 pickup too! https://www.andertons.co.uk/boss-gk-5b-electric-bass-guitar-divided-pickup £690 for the unit + about £250 for the pickup is a fair chunk though.

Could also email Barefaced and see if you can visit - they are in Brighton.

The Gallery or Bass Direct probably have the biggest selection.

All as good or bad as each other. Buy a separate stand-alone insurance policy to go with it.

I doubt it. It hasn't been out long. Thomann do this sort of thing every now and again. You have to be ready though as the blow out stuff sells really fast.

Just a quick heads up - Cory Wong has a bunch of transcriptions available on his website and for 2 of his albums there are full bass transcriptions and tabs available and they are currently on sale. The Striped Album Cory and the Wongnotes They come with pdf and Guitar Pro files too. https://www.corywongmusic.com/charts-and-tabs Some great playing by Sonny T on those albums. For the brass and reed players on here - there's a full set of horn charts for the amazing "Paisley Park Sessions" album. No bass for that one yet, but fingers crossed!

If it was just dirty but a good player I'd give them a crap review but I wouldn't send it back.

I prefer a different way. Each member owns a specific bit. 1 person owns the desk, the next the speakers etc. Split as best as possible to keen values similar. Each person responsible for repair, insurance etc of their bit.

Bottesini only needed 3!

The Ibanez Mezzo 5 is 32 inch medium scale. They are very good if a 32 would do the job. If not then I think it would need to be a custom order or at least a parts build.

The double bass began as a 3 string so 4 and above are pointless…. Seriously though, I love a good 5. Easy for use with brass and Reed friendly keys and lots of fingering options. I don’t have a use for a 6. I don’t need the range at that end.

I've bought from Ishibashi before and from a Japanese ebay from another shop that I can't remember. Was great service both times.

Mono Sleeve for the bass (or the Sandberg bag that is nice too) I use a Gator 1815 Mixer bag for my amp head, cables, transcriptions, spares etc.

I would. There's plenty of music I like to play but wouldn't go an see live, for all manner of reasons. I don't listen to disco unless it just comes up on a random shuffle play and wouldn't go and see a show but playing in band doing Jackson 5 / Chic / Sly etc etc would be great fun. Same for punk / pop-punk too. I don't listen to it, but I bet the energy of performing it is great.

I used to do a 4 way blend using a POD Pro XT Bass, an Ampeg SVP-BSP into a Yamaha P5000S power amp and a pair of cabs. There were additional compressors and octaves and stuff as well. After a lot of tweaking I found the secret was multiple compression stages, but with the most important being on the cleanest tones, set to match the note decay times of the distorted ones so it sounded like 1 complex layered tone rather than 4 separate basses. It took a lot of work to get the natural decay of all 4 tones to fade away at the same time. It was amazing, but the rack was so damn heavy. Never again - unless I can have roadies.

Definitely - pre lockdown I was earning by performing magic and the amount of new effects and props and even cards with different construction is amazing. I once bought a set of tiny weights that would be used for prop building - a set of 10 and there was only 2g difference between the heaviest and lightest and I made up 10 versions of the prop to see which I liked best and what handled and balanced easiest. Then I spent ages changing the placement of the weights in the prop to see if that made a difference I cared about. I must have been out of my mind!

I have the EQ-200 and it's excellent. Having 2 footswitches makes it easy to use for live changes. I got it as an upgrade to an MXR 10 band that I had used for years. It's very quiet in operation and the little screen showing the curve you are using from a memory slot is very handy. It would be nice if it was a bit smaller, but then there would have to be menus or scrolling and things like that.

I find that if there is tab on the page as well I never learn the notation - I suppose I am distracted by the easy option. To the extent that in my official tab books I have put tape over the tab to force me to use the notation only. But sometimes I write the note names, particularly if it is in a key I'm not very familiar with - even just the odd note name here and there to remind me of sharps and flats in the key signature. Like any other language, it needs to become automatic. The best description ever given to me was to compare it to reading English. We start by learning phonetics of smaller bits of a word and then stringing them together. But as we get better at it we don't do that anymore, we recognise longer patterns instead and can read an entire word as 1 pattern of sound. We don't sound out the smaller bits anymore, but we still have that skill for an unfamiliar word. Music is like that. We identify each individual note when we are beginners and the sort of stumble that note into the next one. But eventually we recognise patterns and each bar of music becomes 1 pattern / word in conjunction with the key signature. The real secret is how the practice is done. 5 hours on a weekend is pointless and tiredness / frustration gets in the way. 10 mins per day is only 70 mins per week but will lead to far greater advancement because there is daily reinforcement. One of the best things I ever bought was a bunch of used Double Bass sample sight readings examples / tests for grades 1-5. As they are part of the classical double bass process they are in multiple keys and time signatures, and they are usually only 2 or 3 lines long. https://www.amazon.co.uk/gp/product/1860960340/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1 (there's a used one there for 1 pence (+£2.80 postage)! I just started working through them from the easiest ones as slow as I needed. Flipping between them is important as I wanted to make sure I was reading rather than remembering. I didn't write the note names on these as that would defeat the object but I did have the note names on a bit of paper that I could turn over if I was stuck. Some of those types of books come with a CD or a download link to hear them done properly, but there's also smartphone apps that will use the camera and scan it and play it to back. It just needs 10 mins per day of dedicated reading practice and in a year the progress that is made is beyond what anyone hopes for.