Grangur

Tbh, his asking for KPIs is probably only a matter of, if he's paying good money, he needs to see a strategy and believe in the ability of the person. What the person says and does needs to make sense to him. I'm also sure it would be a hands-on role. It's not a big organisation.

Knowing how Scott's business has evolved I can see that creating this role is a good move for him. In the early days everything was new and exciting and to be on the site. The community was good fun. There was always discussion going on an making friends was easy. There were Monthly "Challenge" competitions going on. Between myself and one of the mods we were answering all the tech questions, most of which were often pretty basic, but it was exciting and Scott was packing in more and more members. This, I guess is how the million members comes about. As it got busier, things changed. A few key people who were active in the community started to disappear. I dropped out too as things happened I wasn't happy with. I went back recently and the discussion forum is now dead. You can almost see the tumbleweed. If the business is to survive Scott needs to do something to relaunch it. Relaunching isn't as easy as the initial launch and very possibly Scott needs someone with marketing and sales experience to see how to boost it again and see where it all went wrong. Good luck to him. It was good and it would be good to see it buzz again.

Fair point. I do think that on Ebay you get top price for it.

I got mailed this. It reads to me like Scott is looking for someone to take the business on and drive it forward in an aggressive marketing style, leaving Scott to have more family life, make videos and play bass. It's not going to be an easy gig to fill.

To get mwahh the set up for the nut on a fretless needs to be pretty low. If you fret at the 3rd "fret" the space under the string at the 1st will be low enough to hold a piece of paper there. This isn't, of course, set in stone, and mine is a Warwick Just-a-nut, so I have the advantage of it being adjustable, rather than done with a file. But of yours is high, it's worth starting there.. Also on a fretless, to get a consistent mwahh right down the neck, it's important to have a very flat/uniform fingerboard. Undulations, no matter how slight, don't go well.

I've not evaded the Ebay fee and can't see the point when an item is no more than £300 or so. But when an item is £2400 and the fee is 10% it does seem excessive for the "work" they have actually done. (Fees are capped at £250 per item) It would be better if their fees were reduced progressively as the item goes up in value.

Good point @skankdelvar, but even the softest nail file would be a lot more coarse than the most coarse fret rubber. I have 3 different ones and they actually feel just like a eraser we use for graphite on paper.

Another solution is to use the Fret Rubbers that Crimson Guitars do: https://crimsonguitars.com/store/fret-rubber-fret-polishing-abrasive/ You still need to watch the effect of the rubber on the fretboard.

It's been taken down. Lesson learned I guess.

This is why any search on Gumtree includes a few listings from Ebay.

What a beautiful bass! The neck finish looks like a semi-matt finish. That's pretty easy to do. You just need to get the right lacquer. Thanks for posting.

On a matter of internet security and passwords: Don't forget that in many situations, your DoB, Mother's maiden name, memorable place etc, etc Don't have to be true. OK for credit checking the bank may need your true info, but too many web sites ask for this same info for registering with them. So, just look at it as another password.

Have to agree, @Jus Lukin. I've heard others say RHCP are great live. I took my 14yr old (at the time) son to see them at Earls Court. MAN they were loud, and the sound was like an excruciatingly loud tinny radio. It may have sounded great in other areas of the hall, but up where we were it was awful and put my son off of going to gigs. Thankfully his hearing seems OK.

Some time back I owned a business and we were selling stuff online. Someone paid by cheque. We sent out the goods after the money was in the account. Months later the money disappeared from the bank account.... "WTF!!!!" Contacted the bank.. The bank informed us that the cheque bounced. When you give the bank details you assume they pay by BACS, but they could also do it by paying a cheque into a branch. The bank processes the amount and puts it into your account. You're happy and pass the goods on. The bank has up to 6 months to bounce the cheque if the funds don't arrive. He's long gone. He may even have collected the goods and you may have no more to go on than an email address. Also, @Monkey Steve on your transaction; the buyer set up a Paypal account, said he'd paid. Then came and paid cash, but he was able to stop the Paypal payment?!?! You dodged a bullet there. If he was able to stop the payment he would have been able to do that after you'd parted with the goods. I don't like Paypal due to the claiming back after goods "didn't arrive". But if you deliver to a mate - this could be a drop-off shop only. They might have no records of who the buyer is. Selling is a nightmare.

In a small room, I guess the mention of amps was ironic. So not exactly like Motoerhead unplugged

Another variation on this is done by one of the instructors on SBL: Danny Maurice. He frets the note, but let's the pad of another finger rest in front of the fret, deadening the note. This way you don't need to be so totally accurate in the finger position

@EBS_freak, getting that way too. If, in 2019 he's still publishing articles advocating practices that caused his own ear damage, and he learned about it in 2013, this is not good. The guy appears to be dangerously duplicitous.

They look interesting to me. Worth a play I would have said.

Thanks to all for your comments. I guess the clue is in his words; "Bottom line: you need to play to the gig (volume- and amp-appropriate), but don’t change what you do to suit someone’s engineering and audio fantasy . They will come at you fast and furious with solutions and ways to take you off your game plan. My advice is to stand your ground and be the guitarist you worked so hard to be." So, he says, don't listen to the guy who works as an audio engineer in that hall every week. Stick with your own inflated ego... hmmm..

OP edited to include the link. And the text is here incase they take it down: Hello, Joe Bonamassa here… yeah, you know, the same guy who was accused of calling pedal users lazy (not quite) and has been labelled everything from overrated to overweight. Anyway, I have been asked to write a few words in defence of us loud guitar players out there seeking redemption or at least some sort of validation for our methodology. So here it goes… It all started in 1939, when a guitarist named Charlie Christian who was tasked as being a featured soloist in the Benny Goodman Sextet (tough gig, those horns are loud!). He needed a guitar with a pickup and an amp… next thing you know, the Gibson ES-150 and amp was in production. Then in 1945, Paul Bigsby, Leo Fender and ultimately Les Paul started a revolution of sorts. The electric guitar was front and centre. Loud and proud, as you would say. Since then, the electric guitar has been the focal point of most vocal and non-vocal popular music for almost 80 years. In 1967, Jimi Hendrix and Eric Clapton took electric-guitar music to a fine art – the finest, in my opinion. Some others have used it as pure songcraft (Neil Young), while others for basic chords in the youthful expression of anger (Sex Pistols, Nirvana, etc). Now we can all agree on these basic historical facts, the question we must ask is, why do we now find ourselves marginalised by live sound engineers and stage managers that insist we achieve little-to-no stage volume at all? Basically, treating us and the electric guitar as the Typhoid Mary of the onstage environment? When did this happen? Why do we find ourselves chided and picked on as if we’ve done nothing to justify our place onstage? I have a few ideas why. First, let’s talk about in-ear monitors. In my opinion, they do more damage than good. Why? There’s no respite nor sweet spot on stage. It’s all the same and you run that loudness directly into your eardrums for 90 minutes at a time. In reality, you are not saving your hearing at all, regardless of popular belief. All of this audio goodness is predicated on your willingness to turn down and sacrifice yourself for the ‘greater good’ onstage, which is one misnomer I found shocking when I was convinced to do it five years ago. It lasted one tour and I found I was living in divergent reality from what the audience was experiencing. The sound engineers found themselves in control of dynamics. That was unacceptable to me. It should be unacceptable to you as well, purely from an artistic point of view. It’s like letting Siri control the throttle on your car during the 24 Hours Of Le Mans road race. Second, and most importantly, is concerning the guitar sound or tone in general. You will find the lower volume onstage and higher volume in the PA does not necessarily equate to a fatter, fuller sound. Most of the times it does not, especially when you listen back to live recordings of your gigs. You must admit most all of your favourite guitar sounds are based on an amp working hard through a tough speaker or multiple speaker cabinets. ‘All dials to the right’ worked for Eric, Eddie, Jimi, Leslie and many of us at all levels of legend and skillset. You have to admit that a one-watt amp through a speaker simulation isn’t gonna cut it in comparison to a 100-watt Marshall through four cabs like Alvin Lee had at Woodstock. It is certainly not going to sound like Brian May at Live Aid in 1985, even if it sounds like that in your in-ear monitors. It’s the concept of clean headroom – and tonal variations you get by having clean headroom. The knobs on your guitar were put there for a reason, remember. Not all gigs call for that type of sound, but most times you are told it sounds ‘massive’ out front. Truth be told, it sounds like a hive of bees and if you were in the audience during your own gig, you would not be impressed at all. That’s the truth, 99 times out of 100. Bottom line: you need to play to the gig (volume- and amp-appropriate), but don’t change what you do to suit someone’s engineering and audio fantasy. They will come at you fast and furious with solutions and ways to take you off your game plan. My advice is to stand your ground and be the guitarist you worked so hard to be. Make Buddy Guy and Jimi Hendrix proud. Also, most importantly, make yourself proud of the work you do and legacy that you leave behind.

Don't know. The impression I got was that this is the way tech is going. Joe B doesn't like them. It seems they're bad for your hearing and give a poor representation of the sound of the band. It surprised me.

I know nothing about these, but it could be interesting to see what BCers think.

Welcome to Basschat. This is a pretty active forum. So it doesn't matter where you post, it all gets read. Good luck with your bass. If you need more help do come back. See you around.