neepheid

I feel almost embarrassed to report that I occasionally get praise in my band for my bass playing, which I am rather uncomfortable with but have learned to accept awkwardly.

We've finally got off our butts and recorded something. Our debut EP is called Rearranging Deckchairs and is a 5 song collection which we recorded in 10 hours or so at Captain Toms Music in Aberdeen. It's our first ever official recording, we're really pleased with how it came out and we'd be ever so grateful if you could have a listen and maybe give us some feedback which we can use for the next time. Thanks in advance! BC: https://theinevitableteaspoons.bandcamp.com/ Spotify: https://open.spotify.com/album/1r0604U9YPiqGnJjfH7LKF iTunes: https://itunes.apple.com/album/rearranging-deckchairs-ep/id1027437642 And no doubt in a plethora of other online places.

I've had a listen, and overall I found it a pleasant listening experience. Songs are hooky and there's some interesting stuff going on in there (like the bouncy, squishy bass in the intro/outro of Dominoes). Recordings seem well mixed/balanced and crisp - I can make out most of the stuff that's going on and am able to pick out individual things to focus on. The overall sound of the songs is from a past era that I can't quite put my finger on but I'd hazard a guess at early to mid '90s, somewhere between Stone Roses and Britpop - no problem with that, it's an era I "matured" to and I look back on it fondly. I thought I heard a stuttery moment or two in "On the Job", not awful ear scraping errors just some hesitant timing or something where things just didn't quite line up 100%. Apart from that though, I enjoyed the tracks, and thanks for sharing them

I enjoyed the track, it has good energy and is certainly propulsive. It's not music I often listen to so I can't comment in any great depth, but I can see people moshing away to this (or at least vigorously nodding their heads). I'm not a technical guy but the cymbals seem kinda ringy, swooshy sounding at times, I don't know what that means though. I think the bass is a bit low in the mix - I had to turn up the bass on my sub a bit to hear some of the interesting stuff that you were playing around the minute mark. But then again, you are asking a bass player for his opinion about how much bass there should be in a mix, perhaps not the best type of person to ask Song sounds tight and well rehearsed. Good work, I say.

It isn't a fact.

[quote name='Stefanogregori' timestamp='1438693233' post='2836429'] Ok, so I took the bass apart so it could be prepped for painting. You could say I was disappointed to find it is made of laminated wood! However, I am not going to let this stop me as I thought it sounded OK before I knew this fact! I managed to find a replacement for the bridge. It is not a direct replacement so I need to choose whether to use just the saddles or the whole of the new bridge. This may effect my choice of colour for the body-any suggestions? [/quote] Black and gold, didn't do the JPS Lotus any harm...

Small update and hopefully the end. I rewired the tone/mid controls with log taper pots. Big whoop, you can't see that. But you can see the (somewhat amateurly) restored Mallory 374 dial plate which now sits under the transfer switch... A very kind soul on the Gibson forum sent me one which was a little scuffed and scraped so I masked the numbers and tidied it up. Too scared to make it 100% smooth across the numbers for fear of sanding/polishing too deep, but not noticeable at a distance.

An Inevitable Teaspoons rehearsal isn't a rehearsal without at least two cups of tea. Rock and roll At the gig? Nurse one beer then go on stage with a soft drink.

250W - my RedSub 1x10 combo in combo mode. There's no point in me getting a specific practice amp, the amp I've got is compact enough and has a volume control which turns both ways.

The way I see it, it's small, it's not in a place where your hand would normally be when playing, it's on the underside so you won't see it when you're playing and neither will anyone else notice. Not worth the ballache to argue the toss with someone who doesn't deem it as important as you, however "right" you may be on a logical level. I'd probably be mildly irritated, resolve to do something about it then never get round to it as if the rest of the bass is sound then I'd be too busy playing/enjoying it to worry about something as minor as that little flaw. So, I'm in the "let it go" camp.

Well, if the one or two (hell, even five) Class D amps which one has tried aren't producing the goods versus the one or two (or even five) Class AB ones one has listened to, then of course it stands to reason that all Class D amps are crap and all Class AB are awesome. QED?

Nice rescue, looking good. I sometimes miss my G-3. It maybe doesn't bug you, but the (suspected) hand painted Gibson logo bugs the heck out of me. I managed to get a gold waterslide Gibson logo done by a certain well known provider of comedy Fender decals for my Ripper rescue (although my hand was forced as the original one had been scrubbed off completely). So maybe something for the future - if it bugs you, of course.

I don't think these basses come with a hard case as standard, so how do you think they are transported around the place from factory to distributor to retailer to owner? In a cardboard box, in a gig bag if they come with one, in nothing but bubble wrap or one of those opaque white foamy bags with polystyrene blocks to keep the neck OK. It'll be fine, and if it isn't, that's (unfortunately) what insurance is for.

Is this the same variable mid control found in the BQC/BQS preamps, just used in isolation? Seems to have the same frequency range/boost and cut levels according to the graphs on the user manuals. In that case then yes, the EMG mid control is a lot of fun - even after you stop putting the mids to max boost then rotating the sweep ring for a wah-like effect

I have no cheesemaking skills whatsoever. Does that mean if a cheesemaker hands me a piece of defective cheese I have to just chow down with a straight face and say "mmm, that's delicious"?

June 5th 2015: The Moorings, Aberdeen. Photos by Matt Jolly of Matt Jolly Photography, reposted with kind permission.

When I dismantle anything, I try to keep track of which screws came out of which holes. Dunno why, probably OCD or learned by dismantling laptops with their myriad screw sizes.

Design flaw, or pay attention when dismantling/reassembling?

When are these ruddy couriers going to start doing such a good job that it's a negligible risk to send anything anywhere? Why should it be at either the seller or the buyer's own risk? Something is rotten about the whole thing. I should be able to send a reasonably packed duck egg via a courier and expect it to be in one piece at the other end AND if it's broken whilst in the possession of the courier then it's THEIR fault - shouldn't need insurance for that.