paul_c2

I am guessing you've never worked with 2 sheepdogs simultaneously. Of course, asking a dog if it wants food is a pretty meaningless test of its name recognition - of course any dog would want food!!! But obeying commands - yes dogs recognise their own name and respond appropriately, if they're properly trained and intelligent enough to do so (some dogs are not that clever, there is massive variation, and sheepdogs are one of the most intelligent, able to distinguish up to ~200 different commands).

What is a "fully professional, release quality, remote bass session"? Anyway, this kind of thing: https://www.andertons.co.uk/recording/pocket-recorders/zoom-h1n-portable-recorder has a line input, I am assuming you are actually using a bass amp and it probably has a line out, so with the correct lead (or a DI box if it doesn't have a line out) you could record and I dare say the quality would be good enough to use for something. But really, everyone is using a computer with a reasonable audio interface and DAW software these days - but without a computer, I'd suggest the above (or get a computer....)

The low output guitar would need a pre-amp of some kind, whether this is built into the guitar or using eg a boost pedal, there's options. Or, different pickups (but then that's quite an alteration). Alternatively, some kind of pad/volume reduction could be put onto the 2 high output guitars. This could be as simple as setting the volume control lower and a piece of tape to hold it at its setting. But its not ideal to do this (you lose the benefit of the high output, and have less headroom before noise, etc etc). Personally I'd go for the "boost" pedal route - not sure what pedal has 3 inputs and one output, with the inputs individually controllable/switchable but that would be my preferred option.

Yeah it was more of a selection of notable interesting parts of bass history than an accurate/comprehensive documentary; but it was still all the same interesting. I was surprised they didn't really cover the "Fender Precision" as a pivotal point in history, maybe there was an underlying reason for it (after all they looked at the Hofner, for a bit).

Brilliant! Tina Weymouth: "For those not from the mothership...."

Arctic Monkeys did Girls Aloud's "Love Machine"

I can't see the video clearly, can you write what you're trying to play in proper notation? If its what I think it is there's an alternate way to do it but I want to be sure we're talking about the same thing.

Hmmmm, "how do you play something that someone else with bigger hands played?" (could apply to piano too). "With difficulty" is the first instinct; I think you'd need to adapt the way its played to your own capabilities. I wouldn't recommend stretching more and more and more just to try and play it the same way.

Did you think you'd not be paying import tax, and not factor it into the price you paid? (Similar for courier admin fees).

I'll go against the grain and say DON'T use a tuner. Learn what an interval should sound like, and learn how to recognise when its off, and in which direction. It will improve your "ear" which will help in so many other ways - you'll be able to recognise/transcribe stuff MUCH quicker, you'll demystify the harmonies of songs, you'll improvise better etc etc

I bought a fretless recently (I had owned one before though) and I took to it like a duck to water - no real troubles. Part of that was I was already used to playing fretted, reading music, sometimes sightreading and/or following a conductor so only very occasional opportunities to look at my left hand. So I need to know, more/less, where it goes and what's under my fingers at any time. Its just the same really, except a bit more concentration. I think the "putting the fingers in the right place" previously was mainly from listening properly, rather than simply physically knowing, because unlike (eg) a double bass, there's not much physical clues you feel to know you're in 1st position, or 2nd position, etc etc. Its not like on a double bass where the body starts so high up that you can know from (what would be) fret 7 onwards! If your fretted technique is a little bit sloppy or your ear isn't that good then these areas would need tightening up - but it will benefit both fretted/fretless. I'm at the stage now where I can play "straight" and nobody would know its a fretless; or I can use the advantage to do little things like dig into a note to make it do the fretless unique warble (sorry couldn't think of a better term), or add a bit of vibrato here and there, or do little slides into and out of notes to make it really expressive (and DEFINITELY different/fretless!)

I'm glad I gone mine imported when I did!

Don't do it then

I have a Squier VM which doesn't have a pickguard on at the moment, do you want me to post a pic of it?

My best guess: it won't look that bad, but it won't look good enough to leave the scratchplate off. Think, small channel for wires, oversized holes for the pickup, visible lip/edge where the scratchplate was, paint/varnish imperfections.

Sorry I'm being thick here - what does the £1400+ actually buy you? Or, the extra over a higher end "normal" PA speaker setup such as the Yamaha etc. Because its not weight reduction.

The first obvious issue is that you'd need 2 speakers left and right to achieve a proper stereo effect and/or 'fill' a room properly. What does it do at £1700 and 36kg that this doesn't do at £262 and about 16kg? https://www.gear4music.com/PA-DJ-and-Lighting/Alto-TS312-2000-Watt-Active-Speaker/2FOD Or, instead of lumping it all into one high powered active speaker (I know the RCF is 2 boxes connected by a pole, but it kinda competes with the "one box" high power ones, in a way) you could get a sub, 2 active speakers and 2 speaker stands; or just 2 decent active speakers + stands, in a more conventional arrangement. Specifying a sound reinforcement system is a science in itself, but a VERY VAGUE guideline could be: for rock music, aim for 5-10W per 'person', ie if a venue can accommodate 400, then you'd look for 2000W-4000W of total (RMS) power. (It would be different for other genres; for example jazz, you'd aim for a much more bearable 1-2W/person guideline). But....as above.....I'd expect a reasonable venue to have its own sound system, thus saving you £1000+.

There's bands who would be happy to do a gig for free, for the experience (ie ALL amateur groups, not semi-pro, by definition). And there's bands who get together to practice, but don't even do any gigs. The OP comes over as a bit narrow-minded to me.

I dare say, the more successful YouTubers are a subset of the public at large who have the necessary skills to present well, be creative enough to come up with in-demand content regularly, and have the tech skills to do the video editing (and especially for music subjects, record the sound decently too - not an easy task). AND they'd need to have a unique sustainable idea/direction in an almost saturated market. If they'd not done it in YouTube, they'd have probably been successful at something else etc.

Wouldn't it be ironic if he got zero audience twice in a row, at the Underworld.

It doesn't seem to have drool stains on it, so it may not be the drummer......

But its not the tension which affects other strings....its the CHANGE in tension from tuning an out-of-tune string to being in tune. So really what you need to do, scientifically, is to tune the string which is most out-of-tune first. Or more accurately still, if they're similar amounts out of tune, tune the string which is going to give the greatest net change in its tension first. That way, it will bend (or release) the neck the most, altering the tuning on the yet-to-be-tuned strings. Then once these are tuned, you can go back to the first string you tuned and check it again. You'd be seeking to minimise the number of iterations before all strings are in tune. In theory, if you could measure it to absolute precision, its an asymptote and while you'd approach accurate tuning, you'd never achieve it (except on one string at a time) so there would be infinite iterations. In practice, you'd never be able to measure that accurately, or other effects would give a false measurement, so you'd have an acceptable error band of out-of-tuneness. And I bet that even if you did all the maths, the number of iterations would be the same for any order of tuning!!! So the scientifically/pragmatically correct answer is: it doesn't matter. Of course, everyone has assumed we're talking about a fretted bass. In reality, if its a fretless, then unless you NEED the low E (or whatever your lowest note is), so long as the lowest string is lower than the lowest note you actually do need, it doesn't actually matter and you don't strictly NEED to tune it at all. Unless you use the open strings of course.....

I heard a rumour that the "price fixing" by eg Fender et al was ruled against by the EU recently, meaning that they now can't do it. I haven't noticed much variation in the prices though - I suspect Fender have a RRP very strongly enforced in its contract with retailers, and if anyone tries to undercut it then they'll not be a Fender retailer any more.....

Ridiculous, but is he just getting free listing after free listing or does he pay for the useless (because it will never sell) adverts?

Licence-paying morons.