ambient

They have KFC and Starbucks there. Not that I'd touch either, but it's interesting.

I’ve always thought they looked quite cute. Never seen one in real life though.

[quote name='chris_b' timestamp='1508686616' post='3393789'] The term has been co-opted by many others but to me [i]a gig[/i] is a performance to an audience. [/quote] That's how I understand it too. It could be playing solo, with an ensemble or in a theatre pit, it's still a performance though. Same I guess with as mentioned for a DJ.

He's a member on here by the way. http://basschat.co.uk/topic/313296-my-first-youtube-music-clip-my-own-song/

Mines about 1mm at the 12th fret.

Don't think so as it's below the level at which tax comes in, I think that £35.

Excellent

[quote name='geoffbyrne' timestamp='1508684045' post='3393747'] XLR to Mono is somewhat defeating the purpose, I think. G. [/quote] Thanks for your reply. It maybe is, if you know what the XLR does, in my case I don't hence my post asking.

It's gone now I see. I reported it, though only based on the posts here.

[quote name='Jecklin' timestamp='1508591391' post='3393147'] That's a balanced output on the XLR. Effects pedals generally aren't designed to deal with balanced (3 connector) signals. The XLR to jack lead you have - is it to a mono two connector Jack or a three connector trs? [/quote] [quote name='obbm' timestamp='1508591418' post='3393148'] Firstly they are both outputs, not inputs because the bass is a signal generator. The XLR will be a balanced output designed go girectly into a mixer channel. You don't say what sort of XLR to jack cable you are using but it could be you are grounding one leg of the balanced signal. [/quote] Thanks for the replies. It's an XLR to mono jack cable that I bought from Amazon. It's a good quality one, Van Damme cable and Neutrik plugs. I'm not very technically minded as you may have noticed .

I suspect he's not sure, hence the price.

My Overwater has two outputs on the side. One is a standard jack, the other an XLR. I read somewhere, and someone has told me that the XLR is a better output to use. [attachment=255970:unnamed.jpg] I've got an XLR to XLR cable, if I plug that into my bass and run that direct to my audio interface it works fine. So I bought an XLR to jack cable, if I plug that into my bass, and the jack plug into the first unit on my pedal chain, all I get if a funny sound. Any ideas ?

I prefer to buy on here, I do definitely find that items sell better and faster on Facebook though, and often for more money. I was threatened with getting banned on here recently for adding an item to a sales advert. I genuinely didn't realise that you couldn't do that. Anyway I put the offending item on to Facebook and it sold within 10 minutes, for more than I was asking on here.

[quote name='Kev' timestamp='1508151367' post='3390034'] P Bass? [/quote] I guess 😄

[quote name='PaulWarning' timestamp='1508146787' post='3390000'] I bet if a support slot with a major artist came up with no payment most on here would jump at it [/quote] That's a little different, [b]you[/b] usually have to pay to support major artists, and it would potentially be good exposure, rather than playing a holiday camp in the off-peak season.

To my mind the only thing that is 'free' is for them. You're providing free entertainment for their paying guests. It'll cost you money to get there, then there's your time. Your time [b]has[/b] to be worth money. You'll be using your equipment, amps, guitars etc. Sorry but this thing really annoys me. How about, 'hey we need people to come along and clean tables, wash up, mop the floors after our party, we can't pay but you'll get free accommodation, look at it as a free holiday'. Everyone else will be getting paid, security, bar staff, cleaners, so why not you? Tell 'em no.

Reverb, modulation effects, delay, some mild distortion and use an ebow.

I'd explain to the band that you're worried about it. Don't give up on the song though. Learning to play stuff that you're not able to at the time is a great thing. Put it on the back burner, keep working on it. In a years time you'll maybe look back and wonder what you were struggling about.

[quote name='jay-syncro' timestamp='1508072350' post='3389562'] My Mk1. I'm still getting to grips with it but my word, what a machine! [/quote] That's really beautiful!

Voodoo labs 2.

Maybe listen to a few live versions of the song and see how Michael plays it, how he changes it and improvises over the song. This is from the Snarky Puppy songbook, some background to the song: [size=3][i][font=TimesNewRomanPS]Notes from Michael [/font][/i][/size] [size=3][i][font=TimesNewRomanPSMT]“What About Me?”[/font] [font=TimesNewRomanPSMT]written and arranged by Michael League transcribed by Chris McQueen recorded on [/font][font=TimesNewRomanPS]We Like It Here[/font][font=TimesNewRomanPSMT], GroundUP Music / Ropeadope Records 2014 [/font][/i][/size] [size=3][i][font=TimesNewRomanPSMT]I’ve noticed that as time goes on, I tend to write slow tunes more often than uptempo ones. In an attempt to avoid having [/font][font=TimesNewRomanPS][i]We Like It Here [/i][/font][font=TimesNewRomanPSMT]turn into Ballad Fest 2014, I dug into my IPhone’s voice memo library and found something I recorded on guitar a few months previous.[/font] [font=TimesNewRomanPSMT]It was the intro to “What About Me?” - a really guitaristic, Wayne Krantz-ish sound bite that could have lent itself to either a funky tune or something a little more rock. The result, I would say, is in the middle, as each section of the song digs into a different bag of influence.[/font] [font=TimesNewRomanPSMT]I was staying at the Shofukan Japanese Cultural Center of Rotterdam at the time (Lingus, Shofukan, and What About Me? were all composed or finished there), and I was listening to a lot of different music, from Tunisian to classical to everything in between. Strangely, the main point of influence for each section in this song seems to come from my childhood, or at least college years.[/font] [font=TimesNewRomanPSMT]As I said, the intro feels like Wayne Krantz’s trio (especially the broken drum/bass interplay) during the Carlock/Lefebvre era. The verse reminds me a bit of Prince or Maze rhythmically, but something else I can’t put my finger on harmonically. Letter C has been compared to Led Zeppelin, which I totally don’t hear, but can’t really deny considering that I spent five years of my teenage life basically only listening to them. Letter E probably comes from my over-listening to Kurt Rosenwinkel’s [/font][font=TimesNewRomanPS][i]Heartcore[/i][/font][font=TimesNewRomanPSMT], with its interconnected but angular melodic and harmonic motion (I wrote this whole tune on guitar, so the Krantz/Zeppelin/Rosenwinkel glimmers make sense). Letter G, or the chorus as I think of it, is probably the funniest reference... when I was explaining how it should be played in rehearsal with the guys, the track I played for them was Stone Temple Pilots’ “Sour Girl,” my favorite song of theirs. It has such a unique feel for a pop tune! Half-time drums with an eighth-note, muted bassline. Crazy stuff. I miss high school.[/font] [font=TimesNewRomanPSMT]In playing this tune, make sure that letter B (the verse, as I think of it) doesn’t default to a standard backbeat. We tried this in rehearsal first and it made the whole section feel really lame. I think the broken groove really makes it swim in a funky way.[/font] [font=TimesNewRomanPSMT]The subtlety of Sput’s drum pattern in letter C is what really makes the section feel great. He and Nate slaved over that decision for about 30 minutes during the rehearsal, trying to [/font][/i][/size] [size=3][i][font=TimesNewRomanPSMT]find the exact, perfect pattern that would acknowledge the groupings of 5 without losing the backbone of 4/4.[/font] [font=TimesNewRomanPSMT]As a sidenote, for those of you who own the DVD [/font][font=TimesNewRomanPS][i]We Like It Here[/i][/font][font=TimesNewRomanPSMT], check the bonus footage for an alternate take of Larnell Lewis’ drum solo. The first night of tracking, I counted it off about 25 clicks too fast... and that thing stayed right there the whole song. [/font][font=Helvetica] [/font][/i][/size] [size=3][i][font=TimesNewRomanPSMT]As for the story behind the title, I’ll give you the PG version. We had just played a gig in Liverpool, UK, at Kazimier. I was in my 6th day of Noro Virus affliction (which is basically a flu on steroids) during its epidemic over there, so I was quarantined in a bedroom that had been meant to sleep two of us. Without the extra space, one guy was left to have to sleep on the floor. This unenviable position was left, of course, to the last guy to come back that night after the post-gig hang. I was sound asleep in a fever coma at about 4:00am when I awoke to someone screaming their lungs out upstairs. All that I, or anyone else, on the block heard for about 15 straight minutes, was “Really? Really?! What about me, ************? What about ME?!” [/font][/i][/size] [size=3][i][font=TimesNewRomanPSMT]So there ya go. In this band, if you want a bed, or even a couch, go to bed early. [/font][/i][/size] [size=3][i][font=TimesNewRomanPSMT]Off-the-page stuff to try: [/font][/i][/size][list] [*] [size=3][i][font=TimesNewRomanPSMT]1) Try it at a much slower tempo. The B and C sections get really, really funky [/font][/i][/size] [size=3][i][font=TimesNewRomanPSMT]when played slowly. [/font][/i][/size] [*] [size=3][i][font=TimesNewRomanPSMT]2) Come up with a groove for the solo section that transitions nicely from the [/font][/i][/size] [size=3][i][font=TimesNewRomanPSMT]chorus to the hits behind the solo. [/font][/i][/size] [*] [size=3][i][font=TimesNewRomanPSMT]3) Reprise the end of the song with the chorus. We do this sometimes and it [/font][/i][/size] [size=3][i][font=TimesNewRomanPSMT]seems to work. [/font][/i][/size] [*] [size=3][i][font=TimesNewRomanPSMT]4) During the drum solo, remove certain notes from the groove to create [/font][/i][/size] [size=3][i][font=TimesNewRomanPSMT]interesting spaces. It’ll change the feel of the whole section. [/font][/i][/size] [/list]

It's all a bit too 'groovy' for me, nice Ken Smith in the opening bit though.