BigRedX

One of the reasons for flat-wound strings is that they make the bass guitar occupy a different sonic space to round-wounds. IMO if you want the bass to "cut through" you should be using round wounds.

You need to consider very carefully what features you want from your mixer other than just the number of inputs and outputs/aux channels. The EQ on the Zoom looks quite limited with just a fixed high and low and preset frequencies for the mids. On a digital desk I'd expect at least two fully parametric EQ controls plus low and high shelving. Again on the Zoom the effects appear to be all presets. Fine if one of them is right for your singer, but not as seemingly versatile as the A&H mixer.

You are right. What I should have said is that the cover should be either in your genre or arranged/reworked to be in your genre.

I think the point being made is that most of the time the two devices will be less than 40m apart. However if you've only got a 40m leads you'll always be coiling up 40m of cables. If instead you have a selection of 10m and 5m leads you only need to use enough to get from A to B and the rest can stay coiled up in your lead bag, and you'll only need to coil 40m of cable when you actually need 40m of cable. I makes sense to me.

For the moment. However as 5.8GHz devices become more widespread I suspect it will eventually be as flakey as 2.4GHz systems. Enjoy it while you can.

IME, unless you are out in the sticks playing church halls only, as an originals band you don't need a PA. Almost everywhere I've played for the last 30 years has had an in-house PA system, and those few venues that didn't were places that didn't normally put on live music and we would hire a PA specifically for the gig. The only originals bands I've been in that owned any sort of "PA" were those that also had permanent rehearsal spaces and it was strictly for use in there. On the other hand the lack of a drum kit is probably more of an obstacle. I assume their drummer has at least "breakables"?

With this design of bridge the screws on the individual saddles are there just to allow you match the the radius of the fretboard. The overall string height should be adjusted using the thumb wheels under the bridge. I'd set all the saddles to the same height so that the strings just clear the lip at the front of the bridge. Then raise the whole bridge using the thumbwheels until the action of the G and E string is correct and finally use the saddle screws on the D and A strings to raise them up to compensate for the fingerboard radius.

I think you'll find that I didn't say that.

The revealed wood just looks too new. With that much relic'ing the wood should be stained a much darker colour from all the sweat, nicotine and generally grubbiness.

I can't remember the bassist's name (without looking it up which is cheating) but I do remember being very impressed with his fretless playing when I saw them at a tiny venue here in Nottingham in 1980. I believe he also made the bass guitar he was using as well as Sal Solo's mirror guitar.

On the originals circuit 35 minutes is more than enough for a support slot. Most support gigs are 30 minutes maximum. However, in a 30 minute originals set you should only be doing one cover at the very most which should be under 4 minutes and well known for your band's genre. I haven't seen the post but I suspect the problem may well lie elsewhere other than the set length.

My experience is that all the cheap wireless systems are fine until you start using them in a band with a few other cheap wireless systems or in a location with lots of WiFi traffic.

I like it, although it has the wrong neck width and scale length for a six string bass for me. If anyone is prepared to do some deep diving on the ESP Japan web site, the bass will probably turn out to be derived from a Visual Kei band member's signature instrument.

Helix. Seriously though I don't think I have used 9 blocks in a signal path on the Helix yet. My current default patch is a compressor, distortion/EQ, chorus, and delay (plus volume pedal and tuner) and that does nearly everything I need.

It was that coupled with the fact that Fender seemed incapable of fitting the Micro-Tilt striking plate flat, so the adjustment screw would tend to push sideways as well as up causing the neck to skew in the oversized pocket.

Looks like https://www.boss.info/uk/products/waza-air/

Since software shouldn't require a shipping address there ought not be a problem. And if it complains about your browser location you could always try a VPN with a US IP address.

Moody shot from Monday's Hurtsfall gig:

I think a lot of the problem isn't completely down to the app but the fact that you are trying to get too much out of the tiny phone screen. Accessing any of these services on a proper computer with a decent sized screen is far easier. I think that app developers (certainly for things like streaming services) need to understand that on mobile devices with limited screen real-estate need to allow the "home screen" to be customisable so that each individual user can have exactly what they want on there and hide all the other options. I've side-stepped the issue by doing all my "power-user" stuff on a computer with a big screen, and then when I need to access the app (Apple Music in my case) on a mobile device I'm just accessing a handful of previously selected playlists, and my user interactivity is simply picking which playlist I want and whether it's going to be random order or not.

While there might not be any photos of last night's gig some excellent live videos of Saturday have appeared. Here's a minute or so of "Revelator" Hurtsfall-Revelator.mp4

Hurtsfall were supporting US band Spotlights at The Bodega in Nottingham on Monday. It's been quite a while since I last did a Monday night gig, and now I remember why. Despite not having to go on ridiculously early there were still only about 30 people there when we went on. However apart from two, none of them had seen us play before and quite a few people of them came up afterwards to say how much they had enjoyed us, despite the fact that musically we don't have a lot in common with the headlining band. We even sold some T-shirts and CDs which was definitely a bonus. It's a small stage at The Bodega and it doesn't get any bigger after the main band have filled it up with their drum kit and backline, so we had to be creative with the set-up and limited on-stage movements. However for a change we had plenty of time to soundcheck as Spotlights had already finished theirs when we arrived at 5.45, so it was an unexpected pleasure to be able to take our time and get a good balance both on-stage and FoH. Spotlights were interesting. Musically it's not really the sort of thing I'm into but the performance was great and their bassist produced a couple of notes that made whole venue vibrate, something I've never experienced before and which got the PA engineer frantically trying to locate the rogue frequency, after which sound wasn't quite as dense but at least there was no danger of structural damage! 10.00pm live music curfew meant I was back home before 11.00 which makes a change. There probably won't be any photos of this one, but if any do emerge on Facebook I'll post them up later.

Hurtsfall are @hurtsfalluk

Yes. Has the advantage that you can add any tracks that are in your iTunes library but not normally available on Apple Music for streaming on all your associated Apple devices. This is absolutely essential for me as about a third of my record/CD collection is not on Spotify.

And for gigging bassists with roadies they are most likely just stage props.

I have an RCF745 for rehearsals and on-stage monitoring at smaller gigs with one of the bands I play with. For the bigger gigs I rely on the in-house PA at whatever venue we're playing for on-stage monitoring. TBH it's vastly over-specified both in terms of output level and range for my needs most of the time, and based on this experience if I ever have to replace it I would go for something smaller, lighter and cheaper as that would be more than adequate. I've needed to use it twice as a bass amp with no PA support at small-ish venues (<200) and it has performed perfectly both times. In fact due to the improved dispersion characteristics compared with a traditional bass rig I've been able to have it at only slightly louder than I would use for monitoring which certainly was an improvement on the past where at times I have need to be so loud on stage in order to fill the venue with bass sound that I could barely hear the rest of the band.