stewblack

Yep. I've tried one or two. This one is the best yet

I adore the Eden Nemesis. Don't hesitate.

Bought this lovely little bass here a very long time ago. It was picked up for me by the BL from one of my bands as he was in the neighborhood of the seller. Then we had all sorts of issues in the band and I didn't see them for months. Well last night we finally reconvened to play a wedding and I got to see and use the dub king. It's a kind of Celtic influenced set with acoustic guitar, whistle and mandolin, and I've been searching for the right sounding and looking instrument for a while now. This is it. An absolutely amazing bass. Tight to play being so small but oh! The sound! I've never known a bass so articulate. Every nuance of every note was clear to hear in the mêlée. It has an acoustic element to its sound, helped by the flats. The pick ups are very different from one another but blend beautifully, and the tone as expansive as any I've played. And it's beautiful.

Two gigs this weekend. Headlined a festival in North Somerset on Saturday and a wedding last night just outside of Bristol. The festival was brilliant. Extremely well oiled crowd (it was a cider festival as well as a music festival) and they were so up for it. Wedding was a different band, and while more bijou affair, they enjoyed themselves equally well. Had the fun of a song I wasn't expecting and didn't know in the second set, but I scribbled some chords in the break and all went well.

Depped last night for a 5 piece (bass drums git sax and vocals). Since doing Bandeoke my approach to dep work has changed. I'm no longer bothered at having to read chord charts or improvise a whole set as I'm used to three hours of not knowing what we'll be asked to play, often with musicians who haven't met before and not knowing if anyone actually knows the song. So depping where all the people on stage know each other and know the set is a doddle. Last night was at a social club with a nice stage, friendly staff, typical social club crowd. The band had a reasonable sax player, an ok drummer and a singer with an incredibly good voice. Oh and a guitarist. I got paid, enjoyed playing and was tucked up in bed at 20 past 1 with a cuppa. Result!

I just want to play. It's what I do. If it's a 50 quid sweaty pub gig getting changed in the toilets, that's 50 quid more than I'd get satcat home. If it's a 250 quid souless function playing to a bunch of suits who don't give a damn, I'll take it. I'm a musician. I want to play all the time.

For me it's the bass break in Atomic by Blondie. Astonished it made it onto the recording, bewildered by the terrible sound quality and amazed that people like it.

That's a good solution. Unless you can't play keys. Or own a synth! 😂

I've been playing with multiple synth options and found the best way to produce what I was looking for (for a specific sound) was on the MS60B. Coincidentally I wanted a lovely round subby sound for a couple of songs and the MS60B again came up trumps. I always liked the Zoom pedals but thought somehow more expensive, dedicated pedals had to be better. Many hundreds of pounds and of hours of practice later and I have to accept this simply isn't true.

Yeah, but, if we all liked what I liked I'd be quite happy 😊

Horse pedals are really good. Not 'good for the money' - just good.

I know what you mean about the quality of the B1on. I'm not nearly as angry about their other models, the B6 for example is a formidable piece of kit. But yes the B1on is still a very usable bit of gear

Oh man that's my kind of board! I own some and lust after others there!

I'm impressed!

Two gigs yesterday at two very different Wiltshire boozers. An afternoon al fresco session to a frightfully nice crowd, enjoying their drinks and cremated flesh, followed by an evening performance in a cheerful rough and ready local. Both went well the only thing of note being the insanely horrible load in at the second gig. Firstly, no parking. Secondly, only one entrance and that via a narrow doorway and up three unevenly spaced steps. The second step had a sack trucks defying overhang beneath which the wheels inevitably stuck fast. Twisting onwards through a small, crowded bar, we find ourselves in a corridor which whilst wide at first, rapidly narrows and turns and goes uphill. Via more steps. Lots of steps. The playing area finally located we are confronted with a narrow stage, walled in close on either side and in a room illuminated only by multiple flashing lights. £5 if you can tell me where this venue is? PS I must point out the punters and staff were universally friendly, complimentary and really into the band - it's just that load in, I'll never forget it.

I'd say that adds quite a lot. I like the MS60B in all that, a really useful Swiss army pedal.

It's quality sometimes..not just about the quantity

I've worked several bands with a singer, who I plan never to let go. First time I met her was in a car park, she was getting my gear out of the car before we'd even been introduced. Hell of a voice too. I've been around too many years to check the teeth of a gifted horse.

I think @Baloney Balderdashjust won the thread.

Some great replies - thanks folks. I was putting together a bass synth board (in my head at least) ready for a gig on Thursday. Time was against me so I ended up just taking a synth pedal which is such a cop out I know. I plan to revisit the project today. Planning to include the EHX Blurst with an expression pedal attached, which I thought might be fun. Here's the chair top experimental board I'll have to put a SoundCloud clip up. It actually sounds good.The Blurst I'm not sure about. Doesn't really add anything. What I've learned is that the compressor is important before the dirt and octave. A little of the clean sound with the octave down helps tighten things up too. The filter twin is the absolute icing on the cake. The best filter I found in this set up. The noise gate I think I need, but I'm not sure. We all like a little glitch as the note fades, don't we?