Bilbo

Wow. Never realised that the room could have that kind of effect. May explain some of my earlier frustrations (that I have not posted here )

The bass is a lot more in tthe foreground than mine and is much more like what I am trying to get. And the playing is great. The only thing I don't like is that ringing sound that underpins everything. Sounds like something ringing in sympathy to the lower frequencies (it reduces as you go up the neck)?

Just had a pleasant surprise. In an effort to plug some aesthetic/historical gaps in my listening, I down loaded Carla Bely's legendary 'Escalator Over The Hill'. I was kind of expecting to be confronted with a bizarre mixture of free jazz and Kurt Weill (and I guess I did a bit) but its really good stuff; eclectic but interesting. And I had forgotten how good Jack Bruce's voice is.

Swap flats?

An unmixed live version of Joao Bosco's Incompatibilidade De Genios by Gione Antony's Brazilliance. Another bass solo with flaky intonation. I'm off to investigate in-ear monitoring!! The highlight is Myke Cliffod's soprano solo!! Percussion is a bit loose but, to be fair, she had only learned a samba rhythm that afternoon. Anyway, details aside, I like the energy on this one!! [url="http://soundcloud.com/robert-palmer-1/incompatibilidade-de-genios"]http://soundcloud.co...idade-de-genios[/url]

I think many of us who 'freelance' are used to putting in deps if necessary but I think there is a hierarchy of priorities that each holds for one reason or another and it is an individual thing. I have one band that I always put first because it rehearses and has no charts so it is difficult to dep whereas most standards gigs can go out to a dep with no real detriment. My take is that its not just my income I have to consider but everyone elses as well e.g. I won't cancel on people who are pros and need the income. I stress that I am not a pro and don't 'need' the money enough to blow people out but I also get that this is a luxury some can't afford.

This thread is now the best ever on Basschat! I think the main thing is to spend time and thought on the issue. Mic positioning is proving to be an interesting 'diversion' but I can see all of these options being worthy of investigation to some degree or another. Thanks, everyone, for all of your input.

I was in 9 at one time. First come first served, as it were. Noone complained.

Julian was best man at my wedding and is my oldest and dearest friend. Tell him Rob Palmer says hi!! I used to play with him often and played bass in his first band (which had Lee Goodall on drums (in case you didn't know, Lee also plays guitar)! I get down there about once a year and have often stayed at his place. I knew Paula (although not well)when she first took up the bass (she was already playing guitar and flute). She's a great player (I just recently downloaded her trio cd with Lee and Mark O'Connor - some nice stuff on there). Other folk I know that are around there: Ian Williams (dr), Osian Roberts (tenor sax - based in Prague but his family still lives near Roath Park), Ceiri Torjussen (tpt - based half the time in LA), Rob Haddon (gtr), Dylan Fowler (g), James Chadwick (g), Nigel Cyril (dr), Greg Meliville (g), Dick Hamer (sax), Paul Hornsby (sax), Glen Manby (as), Greg Evans (dr), Barry Foscolo (perc), Jon Caulfild (bs), Jon Thomas (bs).... you may recognise some of them although I suspect some have moved on one way or another.

[quote name='mercuryl' timestamp='1321820146' post='1443506'] Seems to be good advice. I'll probably do that. [/quote] Jakesbass on here is in Aldershot, Hants. Lots of us here have been helped by him. He's a great teacher. Certainly worth a visit. Sarah - who is your tutor? I used to knock around in Cardiff (as did Jakesbass, ironically) and wonder if I know him/er?

Did another trio gig last night (piano, sax/bass) and, again, no need for the electric. What is more, the piano player, a guy called Chris Ingham, hadn't heard me for a year and commented that I had moved on considerably since the last time he heard me. He also said the bass sounded great and that, whilst he could still hear some fatigue creeping in at times, he could see the progress that was being made (Chris is a monster player whose opinion I respect totally - he is a lecturer at Anglia Ruskin University's Jazz course and has a way of feeding back that is empowering). Anyway, I ended the gig with minimal fatigue and no pain in my hands. A little soreness on the middle finger of my right hand this morning but nothing anywhere near a blister. The bass sounded great, particularly the E and A strings and we played some ballads where I could just wallow in the root notes and enjoy the sustain - simple pleasures!! I want to get some in-ear monitoring to help me with the intonation at higher speeds but, other than that, its all coming together!

The irony is that a Genesis tribute band would probably be the one I would like to play in or even see. But I won't. I have watched the youtube vids of Genesish and, yes, they show considerable merit (the band, not the videos). But I don't do nostaligia very well, I'm afraid. Like the website tho; (but why no music?). Click on the Squonk !

Me and tribute bands have a history!!

[quote name='wateroftyne' timestamp='1322393694' post='1450175'] easily up there with the top tributes you will ever see. [/quote] Oh.... the temptation!!

[quote name='yorick' timestamp='1322239874' post='1448530'] I've got about 1.5m of the bungee string if that's any use to you [/quote] That must have been a really low bridge!!

That Rane MS1B.is certainly more affordable but a brief search reveals it appears to have been mothballed. Any ideas about an alternative that is 'in the ball-park' price wise? All the literature says everything is brilliant

[quote name='risingson' timestamp='1322220868' post='1448072'] I should probably add at this stage that my older sister is a great guitarist and bass player, the the rest of my band are four brothers... and they're my cousins as well. [/quote]

The best jazz requires you to play straight into the horn.....

Could certainly be the mic lead as, when I got them, it was for a one off live gig so I spent pennies on it. How much would a credible studio quality mic lead cost? £4K? More? Seriously, though. What would be a good brand to go for if you wanted a quiet lead?

The studio internet forums all recommend hair ties!! I have a wife and she has hair so I reckon there is a significant possibility that she will have one that will keep me happy until January! Thanks anyway!

http://www.studiospares.com/mic-accessories/studiospares-spare-elastics/invt/448675/ Found these but not in stock until 27/1/12!! Bl***y frustrating!!

You know the ones I mean: Google is not helping!

My next attempt will be to look at the current signal chain: NT1-A - Focusrite Plantinum pre-amp/compressor - Edirol UA-20 Audio Capture usb interface - PC (Cubase) and make sure I have the right levels across the board. It may be that I can reduce the hiss by using the gear more intelligently. Then I am going to try an alternative mic (SM58) Then the two mics, placed in different configurations, through a Behringer desk and into the UA-20 Then all of the above again but with a simulatneous pick-up/Fishman Plat Pro line in there too And all with a weird array of pseudo gobos..... Its guerilla recording, that's what it is!

Wow - 4 people playing VKTRS. We live in a strange world!

[quote name='51m0n' timestamp='1322214440' post='1447924'] try googling "API 1608" [/quote] This is absolutely true. The API 1608 came up at £42,000. My first HOUSE was £41,500!!!!