Sean

I used to have one and can’t remember exactly why it didn’t work for me. Does what you’re describing mean that you have to cycle through the designated menu of patches to get back? Is there any way that you can switch easily between two patches for one song without having to cycle through the 4 or 5 that you’ve chosen? In one of my bands, I switch between clean and fuzz/chorus from verses to Choruses. Will Chris be able to do that?

I learnt modes 30 years ago in the way a few have described where it all relates back to C major but like others it didn't click until someone said while showing me a phrase at a rehearsal, "it's D mixolydian, which is just D major with a flattened seventh." That was my moment of truth and then I just went from there. Looking back, I was taught a lot of theory but wasn't taught much about how to apply it in practice. An example would be that I could fill white boards with the theory but when given a chord progression, would be lost on how to apply it. The two teachers I had were great at being talking textbooks but weren't great at seeing my needs. My homework would be learning to stack thirds through two octaves of each mode along to a metronome rather than what I would do later myself, taking a mode and playing improvised phrases over two chords to get used to using and hearing just one mode before moving on to the next. Having learned Spanish as an adult to a fluency level where I was giving seminars and professional presentations, it's made me realise that my music/guitar teachers were going into the equivalent of advanced grammar before covering intermediate conversation skills. On rare occasions where I'm having a conversation about modes, I think it's important to start by explaining how they sound and what classic examples are, like the Careless Whisper sax mentioned earlier, that Phrygian sound in some Metallica songs. Then explain how it's achieved by changing scale tones and then going into the theory, if required. To my mind that is the way to generate interest and understanding in the student.

I gave positive feedback with very direct statements about packaging and failure to show the neck chip in the photos. A dozen detailed photos that unintentionally fail to show the only flaw is like winning the £100k box on Deal or No Deal.

Some random thoughts: 1. Lakland basses are top notch however make sure you're happy with the neck and scale length. That awesome B can mean tight D and G if you don't use skinnier gauges like 40 and 60. The reach might be uncomfortable for some. 2. The value for money is with a quality used bass that has taken the depreciation already. Basschat has never let me down with buying and selling. 3. USA G&L 2500s are incredible, their relatively low resale value makes them outstanding bang for buck however the reverse of that is that they can take ages to sell if you're trying to move it on. 4. Posh (Premium, Prestige) Ibanez SR tick a lot of the boxes, can be upgraded (if really needed) and are relatively easy to sell on. I love a nice SR. 5. Yamaha BBs have incredible B strings for 34" scale basses, even the lower end ones. The BB735A, BB2025, BBP35 are monsters. 6. Used custom basses like Shuker et al. You will not get better quality or bang for buck but make sure you understand just how custom it is and what quirky specs it might have (like a 32.75" scale or bespoke pickups that can't be swapped out and other things in this territory). 7. Spector Euro LX. Similar comments to Lakland. Make sure you are happy with the neck profile and 35" scale. If you are, then you might find you'll be like swans and pair for life. 8. Watch out for instruments that have been modded. Are the mods reversible? Do they fit your need? I've done a few mods over the years that were a dream for me but made the instruments hard to sell because they were "quirky" to potential buyers. 9. Function band. Can I see the frets easily on stage or in the dark? I know there're stickers available but...

That's where we get into the weeds, I think. It said in the listing, "Will ship in generic hardcase. Or buyer collects..." There is no direct expression that the case is part of the sale. The bass was well wrapped inside the case and sustained no damage in transit. Our Parcelforce chap, who is excellent and has done our area for many years, said that cases get hinges knocked off in the warehouse, in transit, come open and the guitars fall out and get damaged, he's seen it a lot. I think this is a lesson to all to ask sellers more detailed questions about packing. The case will be sold on by me but will be a part of a sale and have proper packaging around it.

From what I've been reading, yes, the VT deluxe we'll do that. If you add in a compressor, you're all the way there. I'd either buy a used comp here or go for an MXR Dynacomp M282. I had one. Small and quality. Designed for bass.

I use at least a .135 You can buy single D'Addario Nickel Round strings on Amazon. On my 34" scale Yamaha BB, standard B tuning, I use a .135 D'Add with a 4 string Legacy (Rotosound) 45-105 set. £11.30 + £14.99 + postage. Even though they are different brands, they don't feel any different. I couldn't live with any less than .135, there's just not enough fundamental there. I've got a .145 in the box but haven't felt the need to use it yet.

Hi Chris I switched to an HX Stomp for exactly this kind of versatility a few years ago. It's one of those things that I'd replace ASAP if I lost it. You can make recipes of effects and switch between them on the fly. Yours would be: 1. Standard 2. On/off Switch to Dub EQ 3. On/off compressor setting 1 to 2 4. On/off Boost There are lots of multi FX units that can do all that and much more for you. It's a matter of budget, footprint and how inclined you are to set it all up. Some have a computer interface, others are done through the unit. Most are fairly straightforward and once you've nailed it, unlike separates, you can save it and use it through the FX return of anyone's amp especially if you can toggle the pre-amp on/off. As an example, I have duplicates of all my patches set up, one with the amp and cab models switched on, one with the amp and cab off. That way I can use anyone's amp that has FX return or go DI. For home practise it also means I have my patches with the 400+ sounds without lugging the beast and a cab into the house.

It's all process and measurements. It can be taught. Experience helps as with anything. I've been doing it for decades. Unless there's some serious issue, 9/10 instruments can be made to play really well. I only charge materials.

@dave74200 How's it working out for you? Progress?

I went to see Marisa and the Moths at their first headline show at The Frog & Fiddle in Cheltenham. Never seen 'em before, I was taken along with some friends. What a show! I had seen Marisa singing a coupe of songs with Sophie Lloyd in Cardiff before Xmas. The bass player in M&tM is fab, does a solo acoustic guitar song as has such a strong gravelly country voice. https://www.marisaandthemoths.com/

That's not a Nirvana reunion by any stretch...

Interestingly, in Argentinian slang, Evri means scumbag.

Hi all I've got some strings left over from a 12-string set that I've opened today. I sold these on eBay ages ago and the buyer compalined about crushed packaging, so I took them back. Now, you can get a standard set of 45-100, add these and you've got the full 12-string set. They're out of the wrapper today and have no tarnish but tbf chaps, it's a gifthorse, "no money back, no guarantee" as the Only Fools theme would say. What I have here for just the cost of postage (RM 2nd £1.90) is: 2 x 18p 2 x 25w 2 x 35w 2 x 45w No photos, they're D'Addario strings.

That's the chip done. It's undetectable to the touch but you can see the faint scar.

I've been here a long time (since we jumped from Bassworld) and this is a top 10 BC post for me. This advice applies to anything. Whether it's Music, Spanish or Motorcycling, I'm always trying to learn from others to improve. Formal lessons, snippets of wisdom, exposure to new things, techniques, artists/experts etc. The best teachers will see what you need, they'll understand your need. They'll know that you're not someone who needs to understand the infinite depths of theory, they'll see that you might need to learn how to learn songs faster or how to simplify parts or to improve left hand technique so don't get RSI issues. The best "teacher" I ever had as a bass player, was a drummer I was in a band with who steered me so much, taught me so much about rhythm and feel and what we as a rhythm section should and could achieve. I'd never have worked that out without that guidance.

Today's practise session is going to be walking bass over Jazz Blues progressions. I'm really rusty but optimistic that it'll come back to me.

I love swapping out plectrums and using different gauges for different approaches. I received some Dunlop Gator .96mm yesterday, they feel lovely with the Spectors. I've been using Tortex "The Wedge" 0.88mm recently, they're just a bit pointier. Iron Gear delrin 1.25mm picks are fab too. 25p each plus P&P of course.

The Carpenters. Just incredible. I find it impossible to listen to many of their songs without blubbing. Her voice, the connection with times of my life, what happened to her, and the way she delivers that lyric, "what I got they used to call the blues" in context with her. The cover of Superstar that they did had so many layers with the tragic subject matter with the huge orchestral triumphant swells. I've always loved The Buggles' Video Killed the Radio Star and it's been rejected by every cover band I've ever proposed it for for 30 years or more so was over the moon to see it brilliantly covered by Those Damn Crows at their Cardiff Christmas show. In the spirit of this thread, I think ABBA is the one for me. It's up in the #1 slot with The Beatles for me.

Reading. Pick technique. Latin Rhythms.

Quite timely, I was doing a similar lesson last week from Scott D.

That's nice. What's the zippy bit on the back?

https://soundcloud.com/belowtheghost/sc-e4-h03?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing&si=246c89ce7b884ad4bbe7aa1cebe7c9ce

Here's three (one below) tracks recorded for comparison of the preamps. Same DAW settings used, same patch on HX Stomp - Gallien amp, Mesa 610 cab. Same pick. Also the E4LX is the Euro LX 4 with an adjustable TonePump for comparison. The big factor is the settings of the bass and treble knobs. I’ve tried to get them to similar settings.

I can't remember ever using Roto flats but based on your experience x8 I'd definitely give them a go. @Paddy777 what brand and gauge were giving problems?