JapanAxe

The big caps look normal. The gunk around the base of each cap is to stop them vibrating and breaking the circuit board tracks. Can you clarify which output socket you plugged your cable into, and what was on the other end of it?

[quote name='ballstomonty' timestamp='1452928559' post='2954756'] Record the gig if you can, it'll give you real insight into what's going well/ what could be improved in your jazz chops. Do you have to solo? [/quote] Record the gig? - Now there's an idea (although a frightening one)! I have a couple of written solos, which will be getting some extra attention this morning. I have never had any interest in soloing on bass in the way that, say, Scott Devine seems to enjoy.

I understand the OP's need to de-bulk his gigging setup as much as possible to take on public transport. Unless I am also singing (in which case I need another box of bits and a mic stand), I can get all my kit from car to venue in one go. The one thing I have never been able to further downsize is my Hercules stand, which supports the bass from the headstock. I have a lightweight A-frame stand, but I just don't trust it to keep my bass from getting knocked over on stage.

About 18 months ago I decided to branch out and play as widely as possible. The sax player in my new functions band has asked me to dep with her 7-piece trad jazz band, and that's happening tomorrow night! I had kind of written off trad jazz as trite music played by old fellas in stripey jackets and boaters, with lots of widdly clarinets, but I am finding myself really enjoying this. I have played some swing stuff before in a dance band and a big band, and in fact there is a certain amount of swing in the set at the client's request, but I have had my eyes opened by the trad material - great up-tempo tunes, lovely chord progressions, and a very satisfying musical result when it all comes together. At the first rehearsal I was somewhat wrong-footed by the sheer speed of the music I was trying to sight-read - 4-beat at 230bpm anyone?! - but a bit of wood-shedding has sorted that. I have also found that I can do a passable walking bass when playing the swing material from chord charts, mainly from my knowledge of chord construction. So wish me luck - I will report back on Sunday.

[quote name='sunburstjazz1967' timestamp='1452887513' post='2954534'] I can live with the 80s disco look... [/quote]

[quote name='Happy Jack' timestamp='1452673431' post='2952176'] One of my favourite rigs is my Compact (15" driver) with my Midget (12" driver). [/quote] Mine too! IIRC the reason this works is because both of these drivers use the same 'motor'. If you just mix speakers at random, you won't do any harm, but the results will be unpredictable. If you like the result, go for it.

I use a Cali76 in my country guitar pedalboard, and it just makes everything sound better. Also had good results using it to record bass, as it unobtrusively levels out the peaks that can easily run into unwanted distortion.

I could be up for this - subject to gigs coming in of course!

OK nothing to see here, move along now...

[quote name='M@23' timestamp='1452806144' post='2953753'] Yeah, one for flats, one for rounds. It's pretty much the law. [/quote] Nope, flats on both. [media]http://www.youtube.com/watch?v=0ZG11UBoj-o[/media]

Ash/maple '73 - woody warmth. Alder/rosewood '63 RI - punch. Don't know the neck profile letters but they're not the same. So different, yet so familiar.

[quote name='EliasMooseblaster' timestamp='1452802833' post='2953707'] [url="http://theoatmeal.com/comics/exposure"]http://theoatmeal.com/comics/exposure[/url] (Edit: linked out to relevant comic instead due to swears) [/quote] Oh yes! Anyway, back on topic, there's a band who know what they want, and I have no problem with that.

From the BMU website: [b][size=5]BMU MUSIC MANAGEMENT[/size][/b] [b]GET EXPOSED WORLDWIDE[/b] So their main selling point is EXPOSURE. Wahey! If I want exposure I can go to the end of my garden path and drop my duds. If I want worldwide exposure I can film it and upload it to YouTube.

My son had a MiBass combo with what was supposed to be an 8ohm speaker. It was a 4ohm. Ashdown sent a replacement. It too was marked 4ohm. Both speaker impedances confirmed by multimeter. I really don't know what they are up to, and I suspect neither do they! [b]EDIT[/b]: This was not from PMT! It's Ashdown who I think have dropped the ball.

Quite hard for me to relate to many of these posts as I feel pretty much addicted to playing. I dread the thought of not enjoying playing.

[quote name='Happy Jack' timestamp='1452603564' post='2951474'] If you're a semi-pro, does that mean that you earn half as much as you've spent on your equipment? [/quote] Hard to deny... [quote name='ambient' timestamp='1452607752' post='2951552'] People keep mentioning top quality equipment. Off the top of my head, 4 of my tutors at uni were most definitely pro, they played Fenders, musicman, cort and aria basses. It's how you play what you play. [/quote] I agree, the important thing is that your kit should be reliable, so that it won't let you or your clients down. I was one of those mentioning 'top quality equipment' - but where is the top really? £1,400 Fender USA? £2,500 Dingwall? £10,000 Fodera? Of course that's a whole other thread along the lines of 'Why pay more when a Squier CV does such a great job?'

I regard myself as semi-pro - professional approach, but not my (whole) living. This is how I describe my 'job role' on my LinkedIn page:[list] [*]Selecting and maintaining top quality equipment [*]Keeping my skills up to date [*]Actively seeking out musical opportunities [*]Communication with the client [*]Preparing thoroughly for the engagement [*]Punctuality and courtesy [*]Contributing to safety in the workplace [*]Interaction with the other musicians [*]Playing appropriately for the song, the engagement, and the client [*]Dressing suitably, both on and off the stage [*]Acting as though the client's reputation were my own [/list]

You got ask Dave (OBBM) to send the cable(s) to your workplace

[quote name='toneknob' timestamp='1452531521' post='2950883'] More awesome. Look out for Garson, Gabrels and whoever the drummer is here. Amazing. [media]http://www.youtube.com/watch?v=Xup_RSisiWQ[/media] [/quote] The drummer is Zachary Alford I believe. Note how Carlos Alomar (the other guitarist) makes do with a tiny pedalboard...

[quote name='Twincam' timestamp='1452535203' post='2950930'] Wouldn't a classic smiley face eq work better here when loud, Instead of the frown your suggesting. [/quote] No, you end you just accentuating the lowest notes, plus finger noise and hiss! The warmth/roundness is all to do with the mids.

I presume you'll be checking back in 8 months' time!

[quote name='spectoremg' timestamp='1452513256' post='2950579'] Ashes to Ashes. Just when I thought he was finished (again) he came up with Scary Monsters with this diamond on it. [/quote]+1 from me!

Check out anything from the 80s 'Newgrass' movement. Bela Fleck, Jerry Douglas, Edgar Mayer, Russ Barenberg, Glen Worf, and Mark O'Connor all played on each other's albums - you can hardly go wrong!

[quote name='lojo' timestamp='1452410230' post='2949628'] I heard on the radio he wanted to use jazz players to play rock , in the hope that something new would be created [/quote] Chuck Berry did this, and it was. They called it rock'n'roll! Listen to the jazz-swinging drummer and bass player vs Chuck's straight-8 guitar on Johnny B Goode.

[quote name='Mickeyboro' timestamp='1452407811' post='2949626'] I would be amazed given the changes (huh?) he's been through that there are any true lifetime fans who've connected with everything. [/quote] Very true. I've never bonded with the Black Tie, White Noise album - it just sounds too shiny!