BigRedX

If you can't gig why not work on recording and songwriting?

For me time spent learning a song I'll never otherwise play is time taken away from writing new songs that I probably will play.

IMO it's a big enough category for it to be a top level forum within "Gear" and not a sub-forum and certainly not a sub forum of "Other Instruments".

One of my bands supported Toyah just before COVID and from the songs I recognised, the live arrangements were quite a bit different from the versions I knew from the records.

I've owned a lot of very expensive audio interfaces over the past 25 years, but these days for bass and guitar I use the USB output of my Line6 Helix. This lets me record the bass with and without the effects applied simultaneously, so if I not 100% sure about the sounds I want to use I can then run the direct recorded sound through the Helix Native plugin and tweak the parameters whilst listening to the playback. When I'm happy I can then download the edited patch back into the Helix to use when I play the song live.

I briefly experimented with using my Linn Adrenalinn in one of the effects loops of the Helix which would give me the sorts of synth sounds I wanted but still with the flexibility of signal chain positioning that the Helix allows. In the end I decided that it was too much faff, and if I couldn't get the sounds I wanted out of the Helix on its own, I'd stick a "keyboard" synth sound that I wanted on the backing, and blend it with a suitable bass or guitar like sound from my playing through the Helix. That has worked perfectly well for me.

I'm a very average bass player who doesn't drive or own a car (I have passed my test and have a clean driving licence, but I'm a crap driver and IMO a menace to other road users so I don't drive), and very occasionally because I'm self employed work has to take preference over music. However I'd like to think that as a band member, I'm enthusiastic and have plenty of experience of gigging and recording, a decent composer and arranger, a good graphic designer with plenty of contacts for getting things printed cheaply/for free, and have my own good quality recording setup and rehearsal space (for bands without acoustic drums), means that for the last 45+ years of playing in bands years my short-comings have been more than out-weighed by the positives.

Until the cookies and tracking policy is more transparent and all cookies over than ones essential for the login functions of Basschat to work can be easily to rejected without having the deselect each one separately, Basschat has been relegated to its own browser where all cookies and other browsing history are automatically flushed on quit. No links in posts will be followed and no other sites will be visited from this browser rendering all the tracking data useless.

I think what they mean is that it is based on all those horrible telecaster-shaped basses produced in the far east in the 60s and 70s that were often shorter than 30" scale length. The actual Fender Telecaster Bass doesn't have the same body shape as the Telecaster Guitar.

That's one of the great things about the Helix. Not only can every preset have a different selection of effects in a completely different order, but using the set lists I can keep all the different requirements completely separate. So I have one set list for each band I play in plus one for when I'm playing/recording guitar at home. One each set list I have one or two default presets that have all the effects I would normally use with that band in the order that I would normally want them, so creating a new preset for a song has been made much easier.

IMO most live albums are essentially "Greatest Hits" with more honed/developed versions of the songs from the original recordings played a bit faster and often with simplified arrangements to compensate for the lack of studio overdubs or the fact that some of the more complex parts could not be played whilst also singing or throwing some "rock n roll moves". All of this can be a good thing. Unfortunately this can be counteracted by extended guitar solos, drum solos and other over-long sections, plus embarrassing between song banter. There is also the problem with live albums released on vinyl where the original set list running order may have been sacrificed to satisfy the pressing/cutting requirements of not having loud and energetic songs on the last third of each side, which can kill the flow of the gig the album is supposed to be capturing. Having said all that my favourite live album is "Steppenwolf Live" or at least it was until I discovered that the crappy Dansette I used to play it, produced one side of the stereo much louder than the other. Playing it properly balanced revealed lots of very loud and very insipid organ parts which ruined it for me. These days I prefer my gig/concert recordings to be accompanied by visuals so my favourite is the DVD release of Shena Ringo's Gekokujyo Xstasy tour.

BTW none of the new cookies from Ezoic appear to be listed on the Basschat cookies page. Does that not need updating?

As I've said before, I have completely given up on limited edition product releases and previews of things that are still being designed. If a product isn't available for me to buy in a shop and take home with me today, or order on line for immediate shipping, then I am simply not interested and will make do with those things that are available to buy right now.

Not as bad as I gig I once did with The Meteors who turned up with just a guitar and expected to borrow everything else (including a double bass and all the drum "breakables") from the 3 support bands. They weren't travelling particularly "light" is they also brought a van-load of T-shirts to sell!

Hi and welcome to Basschat. It would help if you could post some close up photos of the bass showing where the missing parts should go along with some additional measurements. The problem you are likely to find is that early copy guitars and basses only bore a passing resemblance to the original instrument and therefore standard replacement parts may not fit without a lot of additional work. It will also depend on how authentic you want your restoration to be. For things like machine heads, modern versions will be far superior to almost anything off a 60s copy instrument, but getting something that looks exactly the same and has the same fitting will be difficult. Most people would settle for ones that have similar keys so the instrument still looks the same from the front, but accept that the screw fittings on the back won't line up with what was there previously.

I've played in some loud bands but have never been so loud that could actually feel the sound pressure waves coming from my rig. If I had I suspect I would probably be even more deaf than I am.

The sorts of gigs that the Foo Fighters do even if they were all on IEMs and had no amplification or foldback speakers on stage it would be far from quiet. There would be enough spillage from the FoH to keep things lively and loud. It's not the Dog and Duck you know. But it looks wrong without the amps on top of the cabs.

It's fine in Firefox, Opera and Chrome. I suspect it's an incompatibility between this version of Safari and however these icons are generated. Flushing the cache doesn't make the icons appear.

No formatting icons visible in the dialog boxes for starting a new topic or replying to an exiting one. The spaces for them are there and the grey highlight shows up when I move the mouse pointer across them, and AFAICS the formatting can be applied. It's just That I can't see what I'm applying until I start typing. Mac OS 10.13.6, Safari 13.1.2 (I know it's old but until I can afford I new Mac that all I have). Alt tags are visible, so I'll probably manage without.

Can you make a meaningful assessment of the bass amp capabilities when what you are hearing FoH is probably direct from the bass guitar?

Interestingly no amps visible and one one (perhaps) microphone on any of the cabs in the fist photo. Maybe they are just stage props?

But Stradivarius was essentially improving an instrument that had been around for hundreds of years. Loudspeaker design is comparatively young and we're only just reaching the point where there are "giants" to "stand on the shoulders of".

The problem is that employers even for McJobs expect their job to be more important than anything else in an employees life which makes trying to simultaneously run any "career" in music almost impossible. If you're lucky you will be able to do weekend gigs down the pub with a covers band, but IME for just about everything else the important gigs (as either a band or a session player) tend to be the ones that you pick up with almost no notice.

Which Ash? There are over 40 different species of tree that are classified as "Ash", and it's further complicated by the fact the Swamp Ash isn't a separate species, but simply a tree of the Ash family that has been grown in swampy conditions. And where has the Ash that is going to make your bass come from? Ash trees grow in Europe, Asia, Africa, and North America. That's big range of growing conditions all of which will affect the structure of the wood, and if the wood is important to the tone of the instrument then it will also affect the tone.

Weirdly enough I've had this happen to me as well. I think I've posted in one of these forum issue threads. If I have time tomorrow I'll see if I can find out which thread I was having problems with and if it has resolved itself since then.