stewblack

Yep, if you're going to have damage then out of sight round the back is about the best place. Can't see it and doesn't affect the playability in any way. Nice one!

Ah, OK thanks. Just trying to justify wanting a bass which is probably nearly identical to one I already have.

Ah, just misreading my post. Ah well, one say we'll find something we do agree on.

precisely the point I made. Nice when we agree occasionally Chris

Anyone know what the difference (if any) is between the Detroit and the Power basses?

Some GAS inducing reviews of The Little Bass Thing online. I know at least one BC member who has one. I wonder how long before they start to appear in the second hand market. Anyone got any experience of them they'd like to share?

I couldn't really get a handle on the idea of a bass being boring. Then it came to me. When I received an offer for my Yamaha BB , I took it. Without hesitation. Why? The instrument looks really cool, feels lovely, sounds fantastic (only bridge pick up I ever really liked) and yet, and yet.... what? Could it be it just didn't excite me? That maybe I found it a little, dare I say it, boring? If it's the one in the rack that never gets picked, if there is nothing actually wrong with it, but it gets left at home all the time, then I wonder if that's all that's left. It's really odd.

Presumably the drummer will have to set up in a van, or a car like the Pope's. I can use my BF Midget and Elf from my Picanto, but really the whole thing does seem a little impractical.

I do now. I didn't for years because I thought it killed the dynamics in my playing. Loosely translated to bad compressor, badly used. The more sensitive you are to the nuances of how you play, the more you notice the effect of a compressor. The more you care about the way you sit in the mix of all the other instruments, the more you notice the effect of a compressor.

Yes - great metaphor. Uncompressed sound being where you don't mix the cornflour and end up with some water thin parts and some great blobs of thick stuff.

Had a couple of good sessions on the FI this week. Still feeling my way in, but it's a good way (for me) to learn. I copy someone else's patch into the edito and think, OK but what if I want the instrument more bassy and the synth less distorted. Then work out how to achieve this. It removes the kind of techno blindness I get when I try to start from a blank page. Doing smaller, specific tasks actually begins to ingrain all sorts of other seemingly minor steps. Slowly I built the whole. EDIT: (for the ahem more literally minded) The above is merely an hypothetical example. I don't spend all day just doing those two things.

I quoted all the tech stuff!!

Very nice

Ah! Thank you so much. That is REALLY handy.

I missed this nugget! Thank you. However the ability to save 'favourite presets' and the up / down option will (I hope) still be useful. Being so very new to the world of midi I don't know what CCs are. EDIT : Did some research and cc has two meanings! Also pc isn't a computer but a program change. Fascinating stuff. Anyway here is the blurb on my footswitch "Gecko MKIII has 20 presets. Each preset can store one PC (program change) message for each of 16 MIDI channels. In modes E1 and E2, you can edit presets. PC # can be set between 0 to 199**. Also, if set to OFF, no MIDI signal will be sent to that MIDI channel. Each individual MIDI channel can be turned off globally. Since MIDI channels that are set to OFF globally are not displayed during preset editing, setup can be shortened. Also, for each MIDI channel, you can set the CC number to send when pressing the OK/TAP footswitch and use it as tap tempo control. Since you can set individual CC numbers for each channel, you can control tap tempo of up to 16 devices at once."

Definitely haven't enjoyed not gigging. But then it's a strange concept isn't it? Enjoying the absence of something. I enjoy when something nasty goes away, like a headache or a visitor. But gigging is the keystone of the whole structure. Collecting basses, learning theory, improving technique, chatting here, incorporating effects - this and all the rest are parts of a structure but without that keystone it collapses. If you told me I'd never gig again I don't know how often I would pick up the bass.

Good for you Stu, you have chosen the perfect instrument. Lots of great online lessons for beginners, tons of books too. But Basschatters will always be happy to help you out.

I can't wait to gig with mine. I already have specific venues in mind for it. Notably the White Hart in Bicester. Always end up parking a goodly trudge from the venue, so I'm thinking small and light as possible. Two shorties, Talman and Club bass, BF Midget and Trace Elliot Elf, clip on tuner and I'm ready to roll. But even without the hike to the venue, once inside, the playing area is a postage stamp. Smaller than any drum riser I have seen. I play on the left, which basically means my bass sticks out into the audience, and people are constantly passing to and from the bar and the pub entrance. I always end up either playing like Bill Wyman or raising and lowering the neck to avoid hitting the punters. The Talman will be a great help being so compact while still delivering a full tone.

Any progress @ClassicVibes?

They're both missing the rust and filth around the pick ups.

No more government subsidies for Volvo basses.

Ruins the punchline doesn't it?

I would guess yes. But as ever it depends on size of the room, your chosen style, and how loud the band likes to be. I'll certainly try it

Sonic bliss actually. This Trace/Peavey, Barefaced combination is basically a marriage made in heaven. And so very small. They could be made for one another.

Oh that looks splendid. Any clips?