uk_lefty

How much is full personal violation? Asking for a friend.

Absolute Radio? Seems to work like that from what I remember. Otherwise they'd be paying presenters for Absolute Classic Rock, Absolute 60s 70s 80s 90s 00s 2010s, Absolute Hymns, Absolute B0llocks, Absolute Dance, Absolute Vodka... Etc.

Probably. Just don't want to have to do it if I don't need to.

Is that a true quote?! My goodness!! If a drummer said that because he had a cool pattern he really wants to play then fine. But a singer?! Is he rapping over a really heavy beat?! Surely "I fancy a slow ballad type song" or "we don't have enough faster songs with a driving beat" is a better comment. Either he struggles to express himself or he's incredibly awkward and just wants to mess you about.

The bassist from the Vapors was lack handed and his white 70s Rickenbacker with "Vapors" labelled case was on ebay quite a while back for a very good price. Sadly, still out of reach for me at the time.

Pump it Up is my tune to play in a shop while testing a bass! Just need to convince the band now...

I don't think it's that at all. In a lot of threads the bass player also runs the PA, sets it all up, books all the gigs, drives the singers mother to bingo... I, and I think most of us, get it. Like most of us on BC you're dead keen to get things going. However others in your group aren't pitching in for whatever reason. It's trying to find what that reason is, doesn't like the way it's being done, insecure, can't be bothered... That's the tricky bit.

Gorgeous, gorgeous, gorgeous basses. If it sounds even half as good as it looks it will be incredible!

Not the same thing but in my "real world" job I've gone from an environment of being given a task, completing it and bringing it back thinking it's done to only be admonished by the boss because I hadn't consulted with evey single other department no matter how unconnected and disinterested they could conceivably be... To now working in a place where whomever has time starts something then we all meet up and build the idea up together until we agree it's good enough to be called useable. I know which one I prefer! Really, they're both pretty much the same thing, only the ground rules are crystal clear in one environment and not in the other. But in the first environment I got sh!t for doing things my way and having to "own" it all the way through and get pulled from pillar to post to now all outcomes being owned by the team. Perhaps you and the guys and or girls in the band need to sort out the ground rules? Do they want your complete song, or an acoustic track, or you humming in to a mic or does someone want to say "hey I've always wanted to do a song called f*ck the Parish Council" and then you all build it out individually? Do they feel you are pushing your way of doing it on to them (I'm not saying you are, but we all know what muso types are like!) or do they want to try different things...? Having an open discussion will be enlightening. You could get everything from support for your way, to alternate ideas, to maybe someone saying they don't like any of it but have no ideas of their own... In which case it leads to a different type of discussion. Good luck

Just to add to it all... Fender's amp modelling does a lovely SWR sound for a very clean bass tone. I had their old Mustang 40 bass amp and the amp modelling was really pleasing, as was their Bassman model for warmth. I think they've got a new 800 watt modelling head out at the mo? Could be worth a go. My gig rig is Ashdown and I use an old Boss GT10B pedal for other amp modelling if I want it. If you want to go from ultra clean to valve warmth then I think some kind of modelling either built in to an amp or via a pedal would be the way to go.

I can't read it properly on my phone but to me it looks like this contract is named to Rusty himself so he is getting a £50 cut, the rest of the band would be getting their own individual contract and payment of however much each? Not sure. The going rate for a pub Saturday night slot round here was 250 so in a five piece it's a max. 50 each depending on whether we have any other costs. So for that gig back in the 80s if he was getting 50 quid himself, depending on other costs as already mentioned, I'd have thought that was OK? Again though, I could be reading the contract completely wrong!

Great stuff! Photos are so incredibly special, how they can take you back to the entire day and remember the most minute and insignificant of details and always bring a smile to your face. My kids are approaching 1 and 4 by the end of the year. I had a small "office" OK, music room, built in my garage and have spent every working day in here since early March. This weekend I received massive canvas prints of photos, one of each child, and they're up on the wall today. The one of my girl has her playing my Telecaster while her toy baby doll is on the floor behind her, very cute.

This. You can easily get another Profile bass if you miss it too much in the next few years.

Thanks... I have downloaded Reaper but never actually used it, just a bit more experienced with Audacity. I'll take your advice on all of the above, much appreciated.

Hi, if the title is not clear... I've made my first multi track recording in Audacity today. I had used it before mainly for editing stuff recorded on my zoom recorder but I wanted to branch out. I've recorded a guitar track using a Blackstar ID Core BEAM as the interface, amp sim and effects. Aside from terrible guitar playing, it's great. I've added a bass track using the same set up but with bass amp sim and bass effects, it's passable but I'd like a more nuanced bass sound. Here's where the issue comes in. I've recorded vocals using a Behringer 4 track USB mixer direct in to Audacity while listening to the guitar and bass tracks via my PC and headphones. I can swear there's latency on the vocal track, it just doesn't sit right. I'll repeat the experiment but there's just something I'm not at all happy with. Is it a case of mixing the interfaces? Is this a common and known problem? Or is my vocal timing just shoddy?

Can't remember the exact song. I had a learn bass book that included "sound like black Sabbath" with an iron man type riff. I remember learning should I stay or should I go early on as well as the Clash version of police and thieves. You really got me by the kinks should have been the first song I learned, it's very simple, but even 20 years on I'm still playing it live and easier ones than that: she sells sanctuary is just d c g, it's an in-joke in my band that all songs have to go d c g or we won't play them... You had to be there. Anyhoo, it's not all about flashy chops if you want to get paid to play in a band, far from it. If you want to be a YouTube star it's probably a different story but I wouldn't be knowing about that.

So some progress... Replacement knobs arrived from the USA. Brilliant. I just couldn't get the old pickup out so again had to go to the tech. He had to break it to get it out. Brand new Armstrong replacement pickup in, great. I've collected the bass today, and plugged in. Everything works.... But. The A and D strings are just so quiet. E and G strings are loud and punchy. I tuned it. I tried two different amps. It's not the pickup height, that's really low on the E side and high on the G side, and it's hump shaped towards the middle anyway. I'm at a bit of a loss. Got loads on with work today but will have to investigate more later... Really wanted to be playing this at rehearsal on Thurs. Learning a lot through this process... Sadly not exactly what I set out to!

Sounds a lot like an EHX Battalion? As in your descriptions make it seem similar in function, not that I've heard the Fender pedal with my ears. How does the Fender hold up with active and passive basses? I had a Battalion and it was great for a passive P, not suited for an active jazz.

I'm watching all the Helix news with interest. I currently have a Boss GT10B which is bl00dy huge and very heavy in its flight case. I went from separate pedals where I could never get exactly what I wanted and all the issues with noise and cables to the Boss. However, I want something smaller, lighter, and it would be nice if it worked for guitar too. What I'm seeing with the Helix range is that unless you spend mega money then you don't get an XLR out (my pedal is basically my backup if my amp fails or supplied backline isn't up to scratch), you can have effects but no amp sim, or amp sims and limited effects, or no expression pedal. .. There's just not quite an "all in one" that could replace my Boss, which does infinite more things than I'll ever use, but I know its all there in a single package if or when I need it. And weirdly, though I love chorus and a bit of drive and now octave, my most often used effects are EQ / amp sim type effects. I'll keep an eye on the developments with these in case something comes up.

I like the simplicity of the bass. Looks in great condition too.

Has anyone used these? They look quite clever. Small format pedals that clip on to a pedal board so you don't need a mess of patch cables and power cables. You can also add other brand pedals on to the board by plugging then in to a little adapter. No idea what they sound like or how good the system is, just looked clever.

A lot will agree with you. Some will say that the vibrations from the string reflect off the board and different board woods and finishes affect the sound. My view is worth next to nothing in the matter and I can't get in to the science of it because I'm not qualified to do so, I just hear other people's reasons and a lot sound plausible, even the contradicting ones. But I've had two maple boarded basses and they have a brighter, snappier sound to them. They've both been jazz basses though. I've had a rosewood board jazz bass and it wasn't as bright and snappy. Had different pickups in it though so you can't call it a fair test. Best people to ask would be a selection of builders for why they choose different woods.

They look great, but no idea how they play. A while back I saw a lefty online that was in a shop on Denmark Street that has since disappeared. It was about 500 I think just a year or two back. I'd like to get hold of a Hayman for sentimental reasons more than musical but the prices on ebay are crazy.

Love a Kramer!!

Hi everyone. I play mainly bluesy rock type stuff and a lot of 80s songs in my band. I've always played in that style, however as my band tries to get more and more wedding and function gigs (pre lockdown) I want to broaden my palette to be more funky to give more of a dance like boost to the songs. My question is whether there are scales or modes I should focus on? I know to accent the 1, octaves are good but when I try fills and other embellishments I can often take the funk out when I'm trying to put it in! If that makes sense? Any guidance greatly appreciated.