BigRedX

Those 107 instruments do pose the question: What makes a Telecaster a Telecaster? Is it the shape, the construction or the pick-up configuration? Or just the fact that Fender says it is a Telecaster.

Be aware that most of the budget IR loaders add quite a bit of latency to the signal, some of them approach unacceptable amounts. IME adding cab models always seems to make my bass sound worse. I just use the EQ until I get a sound I like.

IME you need the on-line version to promote sales of physical media. I buy CDs (and vinyl if there is no alternative) because I like physical media and because it supports the bands who produce it. I'll use a streaming service to check out new bands but if I like what I hear I'll buy a CD. The sort of person who is happy with streaming is unlikely to shell out for a CD or other physical media because if your album isn't on their favoured streaming service they will just make do without listening to it.

It allows the valves and other parts of 1940s/50s amp designs that get hot to hang down into the speaker compartment where they can dissipate the heat more easily.

IME it is always easier to hear myself if at least one of the speakers is pointing at my ears rather than my knees or my groin. That means either mounting the combo on a tilt-back stand or putting at least one other cab underneath it. Both of those things place top mounted controls (for me at least) in a position that is both difficult to see and reach. The original reasoning behind top-mounted controls is that the amps would be placed on the floor in front of the musicians. Not only were the controls on top but labels were orientated so that they read the right way up when viewed from the back. Since this placement hasn't been regularly used since the early 50s it makes little sense to continue building amps this way.

Why do amp manufacturers still put the controls on the top of combos? It's not the 50 and 60s any more. No-one (not even tribute bands of artists from that era) puts their amps on the floor and then stands behind them. The position of the controls should reflect how the amps are used in the real world today (on stands and normally angled upwards) and not reflect some bygone era that is now irrelevant.

I don't think anyone who uses tab doesn't also have a recording of the song(s) in question from which they can get the rhythm. I'm of an age when very little pop or rock music was written down in any format and if it was, it was normally wrong. Therefore I'll usually work things out by ear as I always have done. IMO if a band wanted me to play a baseline exactly as it has been recorded then they also need to supply me with tab, notation or a recording of just the bass line. Otherwise they will have to make do with my interpretation of the part, which will be close but might not be 100% accurate.

Ovation.

I would have thought so considering a stacked pot counts as two.

Eastwood Hooky Number of strings: 6 Number of frets: 24 Scale length: 30" Number of pickups: 1 Number of controls (switches/knobs): 3

Update to the Pride gig on Saturday 26th July: We're now on at 3.30pm.

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.