uk_lefty

My first proper band... We rehearsed and were tight as anything. I was 17-18, drummer 26, guitarist-singer 21, so socially we weren't mixing and we were at different points in life. On our last gig the guitarist who wasn't a good singer introduces me to his mate and says he wants him to be our new singer. "Err, I'm leaving to go to uni next month" I said. We just didn't really know each other except when we were playing instruments. Most recent band. Four years in and covid hits. Tried very hard to get everyone motivated through lockdown, chance to rip up the set list and start again, do some remote recording... Nothing. Some positive noises but no action. We got together a few times when lockdown had lifted but it was very scrappy and had no focus. Drummer handled the band email and when it was clear lockdown was lifting and we got asked to name our dates for a pub chain his reply was basically "we haven't rehearsed for a year so we will get back to you when we're ready" which annoyed me no end. We want to get some kind of gig in the diary but can't align our availability, but because it seems positive I fold an 80s band I'd started and feel keen to go. I then get criticised by drummer for being away for three days for a wedding (all in the band calendar months in advance) as if it's anyone elses' business that I might visit my family for a bit while I'm back home. Then drummer announces a gig on Facebook for a date he knows i can't do. I wish the lads well for this gig I didn't know about. The others get itchy, the drummer thinks he can just announce a gig and it all falls into place. Guitarists don't know what time they're playing two days before the event. Singer has no clue either. Drummer gets annoyed because he thinks he's done his bit and now it's up to everyone else. Gig is a car crash. Singer takes a job with night shifts and can't rehearse except at times I can't do. I bow out gracefully and start speaking to other bands. Band hasn't done a thing since I left.

First gig running the Helix tomorrow night. Mostly using the factory presets, they work well enough for this band and set up and they are consistent in volume output. I've swapped around some different effects to "stomp" in and out as needed. Fingers crossed it behaves on the gig and gives out good enough sound quality! Edit: so the gig was last night. Some bloke came past the PA speaker to stand in a little area where he could get hit by the sound from my amp and in the break he was asking about what's making the bass sound. A few people complimented me on the sound which was Helix presets going into an Ashdown RM500 with the EQ bypassed, into two 15" Ashdown ABM PRO Neo cabs. So sound quality was a big tick. That was the main thing. The only slight drawback is scrolling through the presets is a pain in the bum and not something that can be done very quickly even with the outboard added switches. I will need to be smarter about arranging my presets around the setlist.

This is too many, for me at least. So one of them is going and another is up for sale. Logic: the five string fretless was an 18th birthday present and it's priceless to me but probably wouldn't fetch £200 on eBay, if I was recording something it's the bass I'd grab. The Stingray is number 1 for my new band, though I want to try the Jack Casady. The JC is great for practice without having to amp up and it sounds fantastic. The bitsa PJ sounds phenomenal in the right situation but I recently put it up for sale, there's no sentiment there. The headless has gone now, it was great but I'm not in an 80s band anymore and I don't have a Trace Elliot to play it through. Still feel I'm lacking a jazz bass though!

Well well well.... Used the bitsa at rehearsal last night (first gig with the new band tomorrow) and it sounded incredible. I used the rehearsal space Orange amp which I despise when using my Stingray but using passive DiMarzio pups it was P bass perfection every step of the way from fingertip to earhole. Think I'll reconsider the sale!

Awwww I binned one a few weeks back!! I remember taking a Peavey cable back to the shop years after I'd bought it, I'd saved the cardboard sleeve that said "lifetime guarantee". The shop worker was puzzled but just accepted it and gave me a new lead then and there.

I wanted one of these when I was a teen. Had to settle for the Bass State B150 which was a hefty lump, but not the prestige DBS line! Used to have one of these with a 2x10 extension cab. Also until recently had a fantastic Trace 2x10. My first proper amp was an 80s Peavey. It was knackered. It had weird dials for "pyramid" and other craziness. But it was "150 watts", 80s Peavey watts, and I'm fairly sure it was radioactive. I don't have any photos of it unfortunately. I'd love to be playing a Marshall DBS set up, or a good old Peavey set up, but I don't have the skill to repair or maintain these things, sadly and I'm all about having the job done reliably. I'd be stressing too much if I thought something could go wrong with my amp or bass at a gig. Love seeing these though, fantastic that they're still in use!

Well.... Here's the family today. The Washburn/ Status goes to a new home this week. It was fun while it lasted, it's a lovely, lovely bass but the collapse of my 80s band and joining something very different means it's unlikely to get the attention it deserves. The bitsa is also up for sale. Everything else is in use! The plan is to get down to four basses and stay there....

I've had both great and not so good service from them, but mostly they've been good. Their loyalty points are a good way to keep me going back. The not so good was when I returned a Line 6 wireless and it took months to get a replacement. Not Anderson's fault but there was complete silence on progress and I had to chase and chase. I've phoned once before and had some kid give me the impression I'm wasting his time, but usually I get really helpful people. It's still one of the first places I look for stuff.

Almost nobody would go to it. Sad but true. We are but a niche. There are members here who could just open up their music rooms and show you something more of interest..... BC "through the keyhole" anyone?

It's really hard to sell something with a repaired neck. Unless you know who did the repair it's hard to trust it's been done well.

Is there a line of Police recruits at the door waiting for a new helmet to be suction molded to their heads, like milk bottles on a conveyor belt waiting for their shiny gold tops? The imagery! In all seriousness, sounds like a great idea to cover the board for travel and to protect from bridesmaids swinging drinks around at weddings.

Never had this myself. Mine is noisy at home (not using DI) but I assume it's picking up electrical interference.

The Desert Penguins will play the Horn in St Albans for a late gig, 10:30pm onwards. And it will be my first gig as their bass guy 😯

Leo got it..... Wrong?!

I think it's worse than that. She put a video of this interview on twitter. Adam Clayton is on TV saying this stuff and she just goes "pr!ck." At the end. So the "journalist" has seen this few seconds long clip on twitter and written an article about it. Where's the slow handclap emoji?

The Markbass amp wedge thingy solves this. I love a fifteen but need the sound pointing upwards or I can't hear any top end on the sound... Wedge to the rescue. This is what I want for rehearsals and small gigs. Big gigs will have two fifteens stacked and no wedge, but also full PA support.

Or loads of screenshots of various random people on Twitter commenting or "reacting" to some nonsense that in context doesn't actually mean what the headline says. But hey, you clicked on it so the "journalist" did their job, right? My brother is a journalist for a newspaper. He was really miffed at the quality of his writing being measured by how many people click on his articles. Not whether they read it, like it, make a comment, share it, whether it's factually accurate, nope. Just how many clicks you get. I suggested he headline every article as "Kim Kardashian sends a message to Ronaldo, number 3 will shock you!"

Look at the positive: I've now heard of Nadine, and I respect her view, her musicianship may well 5hit all over anything Mr Clayton does. But really, he didn't say "women shouldn't play bass" or "women can't play bass" did he? He linked bass playing with old masculine traits of strength etc which is a bit old fashioned but he didn't punch Tina Weymouth or Suzi Q or say any woman was a bad bassist. Storm in a tea cup and Nadine has capitalised on it.

It's a nice looking bass. From my own experience any bass I've bought with more inclination to sell at a higher value than to play has always lost me money. Basses I've kept and played for years, never thinking I'd sell, but later moved on are the only ones where I've broken even or made profit.

Probably worth looking up the seller and seeing if they have their own site, might be cheaper bypassing eBay.

But not a problem between a Few Good Men.

@stewblackdon't be disheartened. They will appreciate you once they realise the dep is just pumping the root notes or whatever and they finally understand. Happened to me with an old band. Dep played all the right notes at the right times but didn't drive the band on or throw in the fills and bits that make my approach mine, and therefore the band sounded very much less energetic.

Love this analogy. A good goalie never forces themselves into the game either.... Just like a good bassist. Sometimes I listen to rehearsals and wince at myself playing fills a lot where they don't belong....

I've been a doofus and assumed it was part of the Helix range. It's not. Guess it'd need to be the 8-£900 version of the Helix to give what I wanted, plus a wireless kit..... may as well stay as I am or go Stomp XL