Dood

I do that when I am quoting a quote.

I do that too. Space space!

I don’t know what I am. I find it very awkward pushing my own creations, but will happily talk all day about other’s work, which I can’t help but be incredibly enthusiastic about. I like being a bassist and working with others, in a team for the betterment of a project or an inclusive passion; but I work alone as a teacher and am more than confident in my realm knowing both my worth and my sh*t for which I expect to be compensated for. I write, compose, journal, review, produce columns, professional videos, music and bass material for myself, session or freelance work. I get to do my ideal job, passion and hobby as my gainful employment and run my own business.Well over 35 years playing bass, over 15 it has been my sole income. Educator? Influencer (eurrghhhhh), Artist? Oh, I know, as my career’s officer actually said, “that’s all well and good Daniel, but what will you do for a real job?”

Am I right in thinking that this brand is part of a number of companies in the same locality and they have shipped work out from their own workshop to keep up with demand? Or am I imagining that happened at some point? So, I guess my question is; although responsibility and (consumer contract) is between buyer and seller, did someone else, a 3rd party “do the work”? Ya know, since it is unusual that examples like this come out of the brand’s workshop? I’ve no idea, just asking.

It will be a full spread review for Bass Gear Magazine (see signature). I have to say, they are both brilliant and certainly make a mockery of generic speakers-in-boxes. I’m a sucker for painted baffles I have to say, but Monaco is an impressive lil tike. There will be a written review and, I’ll be adding to the review section here. Please bare with me.

I’d grabbed this deal a while back and it’s very good! I paid ≈£30 I think which is silly money for all of that! MODO Bass is worth that just for putting Dingwall pickups on a Violin bass (or vice versa!) 😂

Oh blimey, there's a name I haven't seen for a while. Can we get a full house if John Hall wades in too?

Came to say the same. On smaller tuners the full outer winding of the string is likely to break as it won't want to curl around such a small post - thats why strings have their inner windings exposed at the tuners. Rotosound used to (and I am suspect they still do) specify in their warranty that string breakages caused by fitting the wrong type of string are not covered.

Tim Minchin said something about developing his brooding potential.

I guess it depends if the pickups are actually routed in the right position? (I've not studied the images), if not then it's a fair problem. Maybe if the bridge is in the wrong position, a much easier fix if the body is being refinished, rather than just getting a refund. Your original statement you made that I responded to wasn't clear that you were talking specifically about the issue with this bass, hence my wordy reply. All good, thank you for clarifying, no drama On the subject of 'sizeable deviation', well, several millimetres can make a difference, but hell, there's plenty who will tell you it doesn't matter what a bass is made of, or can't hear if their tweeter is working or not, so, in context, nah, nothing I've said will make an iota of difference, leave 'em where they are 🤣 #Joshin ☺️

It's an "interesting" skill set. Over the years, doing dep gigs, as many of us here have, it becomes very easy to notate, crib and ape the bass lines of many, many songs. I know that I am not alone in learning over 40 songs in under a week and then reproducing them acurately for corporate events, weddings etc etc. - Oh, and all those licks get stored mentally and I often use them when improvising too. That for many is actually easier than writing, creating, recording and producing their own work. It also comes with the massive psychological safety net of not pouring your own heart out on the page and risking kick back if you feel it isn't good enough. I wonder if there's some of that going on? Content creators need to spew out huge amounts of material to stay relevant and to feed the algorithm and therefore earn some decent money (especially if they aren't just relying on err.. their pound of flesh for likes) so, the fastest way to produce "quality" (?) content is to recycle stuff you already know. Unfortunately in this case, he's forgotten that the internet remembers everything. Only yesterday I questioned someone over something they said, as I remembered a contradictory post by the same person two years ago. Probably need to get out more often.

Thank you for the much needed chuckle 😁

This thread is the internet bass forum version of reading about being edged by Bonnie Blue ..

Yup, I mentioned that.

Hey Burns-Bass You'll have to excuse my mammoth sized pendatry 🤣 Not only will the string be quieter when further away from a pole-piece, it will have less 'transient' tone and lack more frequenices often described as 'punch'. (I'd say mid-range, but it can vary). You can test this by lowering your pickups in to the body as far as they will go and then record the bass (adjusting for overall volume drop). It will sound different. Adjusting for transient response (making it more even) is why Leo Fender moved from a single-pole piece on a 51/54 style pickup to two per string as per the Split-Coil as an example. This change in construction also changes the tone of the pickup too, but that's not what's being discussed. For bassist that bend strings, the distance from the pole-pieces makes a huge difference. I'd demonstrate with a bass I have just recorded video for, but it is all boxed up already. It was really noticeable when the string moved out of the direct field of the pole pieces - which, is why i personally much prefer rail or bar pole pickups. The transient response is much more controlled offering a better, (louder in comparison) "bloom" of the note and therefore a richer tone. TL/DR .. is relevant 😊☺️

I like D9sus4/A, as for the rest of the picture, I've shut that out like all the other unhealed trauma 🤪

Would be interested to find out who made this.

Many years ago, I was invited to be part of a touring band and Annika was lined up as drummer. Sadly some politics got involved and it never happened, but that would have been an experience to tick off the bucket list. Such a great player, I love her vibes, a really 'compositional' player like working with Gavin Harrison.

Another 'highly recommended' vote for Shuker Guitars Artist series. Incredible instruments.

Isn't it! I remember first seeing it on Raw Power / Noisy Mothers the late night ITV rock music program when I was..well.. younger!!

Marc is a lovely guy, I hope all is well with him.

And One Of The Days by Pink Floyd (obvs prefer the live versions!) - That dotted 8ths pedal groove is SO effective and perfect for grabbing the delay pedal out. #NerdAlert - I remember watching John Giblin playing for Simple Minds at the Nelson Mandela concert - so much so that I recall him playing a Fender Power Jazz Bass Special - my PJ's of choice these days, cracking out a delay pedal at the end of the song. It's funny how these memories seem to come back to me when I read basschat posts!

Guy Pratt's triplet percussive slide thing here at 1.05:30

ALL of this. I teach this bass line every time someone wants to learn slap bass. It's the perfect antidote to over playing, which oft ends up sounding like building a shed with drum kit. And a two chord song! Em - EAug

I'll refrain from recycling the old When Dove's Cry joke..