BigRedX

The way I look at it is that any band that expects me to have a bass with a Fender logo on it, obviously isn't the right band for me.

On the other hand if you can't "see" how much you are out if you think that you'd nailed it you probably had well enough for to serve the song. In the days before DAWs all you had were your ears to know if your performance was tight enough. These days I'll only look at the screen if I don't like what I hear on playback, and much of the time it's simpler just to have another go, then starting moving individual notes about.

Unfortunately that's far too much latency for me, and even more so when combined with my wireless bass system, Line6 Helix and whatever digital mixer I would need in order to make IEMs feasible.

This. However if the OP just wants something aesthetically (and maybe tactile) pleasing what's wrong with taking an existing amp or cab and getting it recovered in the colour and texture of material you prefer? In the 90s I had a red fabric-covered rig that was a mixture home-made and commercially available cabinets that had been stripped and re-covered by myself.

Year started playing: 1973 was when I start playing guitar. I played occasional bass when I could borrow one from a school friend from 1977 onwards and finally bought my own bass in 1981. Number of basses: Currently 4 (two 5-strings and two Bass VIs). Has been considerably more in the past. Music theory: No idea. I know what all the symbols mean but can't decipher them anywhere near fast enough to be able to sight read. I also know enough to realise that it's only theory and that practice may reveal different results especially with more modern instruments. IMO if I think it sounds good then it works and is good. Technique: Again no idea. Probably not a lot. I play well enough to be able to perform the music I write and have been competent enough to be able to bluff my way through a standard set of dad rock cover 10 years ago. Groove: Entirely subjective, and probably an old-school way of looking at micro-timing that doesn't really take into account how popular music has developed in the last 50 years. My micro-timing is perfectly suitable for the music I choose to play.

The downside is that it adds another potential point of failure where the two cables join.

Liking this a lot! OoI what do you do about the keyboard parts when you gig?

It's an image thing isn't it? Having said that if I found myself needing to play an F-style bass because of the band look, I'd prefer it not to say "Fender" (or "Squier") on the headstock.

Of all the Aggregators I have used over the past 15 years CD Baby are currently the cheapest with a $9.99 one off fee for an album and 9% of your streaming and download payments. The prices of all the Aggregator services have come down massively in recent years. When I first started using them it was about $50 for a one-off fee for an album and "singles" (which meant just one track) were only marginally cheaper. Whichever service you pick you want to make sure that it supports as many download and streaming sites as possible. While Spotify, Apple Music, Amazon and YouTube are by far the biggest source of streams there are lots of others you might not have heard of, but they all contribute to the income from your songs.

And this why I have made the decision to stick mostly with what comes bundled with Logic and only use a couple of 3rd party plug-ins neither of which are absolutely essential to my workflow. Have you tried the guitars amps that come with Logic? Edit: And in the current political climate we probably shouldn't be using Waves plug-ins anyway.

Bruce Springsteen's stage was offered but deemed too small and a three part revolving stage was constructed, which allowed one band to perform while another was being set up and the previous band's equipment packed up. The stage movement was supposed to be motorised but technical problems meant that it had to be rotated manually.

Bandcamp is a completely separate thing. It only gets your music on Bandcamp and unfortunately the vast majority of bandcamp users are other musicians. If you want your music available to "ordinary" people it will need to be on Spotify, Apple Music, Amazon and YouTube at the very minimum, and that means using an Aggregator as described in my previous post. To maximise your exposure you need to be on Bandcamp too, but be aware that only people likely to buy a copy of your album on there are other basschat members.

Unless you are doing active promotion and probably also gigging you are unlikely to make enough back to pay for a subscription Aggregator service like Distrokid. However if you are in no hurry to break even one of the single payment services should eventually allow you to break even. Compared with the cost of making a CD or record in the pre-internet days either method is a complete bargain. If it's essentially a vanity project then you are better off using one of the Aggregator services that just requires a one-off payment. CD Baby is currently $9.99 for an album and they take approximately 10% of your streaming and download income. As an example I put out an "album" by my band from the late 1990s. With zero promotion it has taken 15 years to make just under $12 in streaming and downloads. On the other hand my current band who are actively gigging and promoting our music expect to make several hundred pounds from Spotify payments alone this year. It also helps that we have no overheads for releasing music other than our Aggregator fees - we record and produce everything ourselves and I do all the graphic design for the cover art.

How do I change my vote? It used to be obvious in a previous iteration of the forum, but not so much now.

Given that it's plugged in, amplified and he appears to be playing through a traditional bass rig is there any point to the huge body?

Still don't get the "Go To Bass" or "My Bass". At the moment. the bass I play most of the time is neither, but because it is the only bass I currently own that can cope with what I need to play in my current band, that's the one I play 99% of the time.

Given that this is BassChat there probably should have been an option for "I used to own a fretless bass but I don't any more".

It might not have been the intention of your post, but it comes across to me as being really sad that you appear to have let the expectations of society stomp all over any dreams you might have had.

Just had a look at the schematic and each channel has 5 valves in it, so it's still going to pretty large and probably fragile in pedal format, if it was even possible to make like that.

I got into playing fretless bass seriously about 20 years ago, and went through a lot of instruments before I settled on a custom-made Sei 5-string. Unfortunately the band that I was in that needed fretless bass parts folded about 6 months after I took delivery of the bass and it's not suited any of the bands I've been in since then. I think I used it one track on the Terrortones album, and as backing for the solo on the recorded version one Hurtsfall song. As a result I sold all my fretless basses including the custom Sei. It was a lovely instrument but it spent most of the pervious 10 years before I sold it in its case and I decided it would be better off with someone who was actually going to play it more often than once a year. At the moment given the sort of music I'm playing I can't see the need for a fretless bass any time soon. If things changed and I did, I would probably be looking for a Pedulla Pentabuzz.

I do quite a few "solos" as I play Bass VI. However none are improvised - they are all meticulously worked out note-for-note beforehand and are an integral part of the song and could probably more considered to be melody parts rather than solos in the traditional rock band sense. Also I'll mix things up and often the upper register parts are chordal and then I'll drop back down to the bass register for the actual tune/solo:

I didn't own a TV in 1985 so I never saw Live Aid. I wasn't particularly interested in any of the bands playing - those that had liked previously had IMO become bland and safe in order to be popular enough to take part. I most likely spent the day reading and working on new songs for my band.

Since it's probably going to be always on does it need to be in a pedal format? An actual Drawmer 1960 in a rack case will be fine.

It doesn't even need to be that complicated. I'd send a mono signal from an audio source, split it two ways and connect one to the left channel of my interface and other via the wireless unit to the right. Record using your DAW and then check how many milliseconds the peaks of the two signals are out by. Since the only variable is the wireless system you'll get the latency of just that without having to work anything out. I'll be interested in the results.

The next gig for Hurtsfall is: Pride Day Celebration on Saturday 26th July at Rough Trade in Nottingham. Free entry. We're on at 3.00pm.