NancyJohnson

I'd be happier/less unhappy with the adverts if only there was a degree of content change month to month. Nowt worse than flipping a page to see the same shot of Robert Trujillo gurning from a Warwick advert every edition.

I'd be happy to pack a guitar and amp as well next year if we went this route. I'm sure I could find a drummer to step up.

I was a bit busy elsewhere, but I'm sad to say I didn't venture into the jam room. How about next year (if there's a drummer about) than we just set the kit up on the main stage? We could utilise the area as it's closer to the main thing and we could jam in there when the talks/tests aren't taking place. It might also be useful to have drums playing when we're doing the shootout tests?

As time has gone on I've been through a load of cabs...I'm 100% with amp side, it just seems to work with whatever I push it into. Recently it's been more a case of looking for a solution to give me more flexibility and I'm picking up a pair of Aguilar SL112s (1x12s) in the next 24 hours. It'll just give me the opportunity to run them individually, paired as a 2x12, in stereo, or given the application, pairing them with my Barefaced. I'm not a fan of mixing up cabinets of different sizes, so I'm with @Sparky Mark, just get another Midget.

Great day today, enjoyed it a lot. Way better than staying at home and having an ear bent by the wife for the trivialist of reasons. P

Well, I pulled the trigger on a pair of Aguilar SL112s. Hanging onto the Barefaced (for now at least, not reason not to)...this, combined with the SLs should give me more than adequate cover moving forward. Exciting times ahead.

I really should ask ped if I can change my user name. 😂

The part in italic was posted on the Bassplayer Facebook group. It's a topline post, so unless a disgruntled employee has hacked their page, then I guess you have to accept it's mouth of the horse stuff.

I actually like the US Bassplayer magazine, I suppose (much like when I used to buy the US Popular Photography) it just gave me an American perspective on the whole bass thing. Much the same as any publication, there's going to be the good stuff and the frankly dull stuff (some of the tabs...too much tab), but I have noticed more recently that for my monthly £4.75, the percentage of advertising per copy is way too high; the August '18 edition ran to 68 pages of which 26.3 pages were advertising (39%). In addition (and maybe I'm overanalysing things here!), the leading space (the space between each line of editorial, so lines per page) has decreased significantly and the kerning (the space between each character) has increased, so you're effectively getting less words as well. Each page also contains big areas of void. I guess it's just an inevitable result of the world today and the decline of printed matter. I suppose I'll miss it; it's my go to magazine for whiling away a few minutes when I sit down and do my daily business (let's have no gags about using it for wiping) and I owe them a small debt of gratitude as I was their featured bassist in the May '18 Real World section (fame at last, eh?).

Images & Words was a great album, still is, but primarily, it contains songs of a manageable length, whereas the more current stuff (viz. everything thereafter) is just nonsensical fretwank. I have no idea how you would even write that kind of material.

Just picked up the following post on Facebook. Seems the magazine has been acquired by Future and the publication will continue as a rebranded version of the UK Bass Guitar Magazine. Understandably, there's already been some negativity in the replies. While a handful of replies are willing to give change a chance, it seems to one poster that BGM is 'too fancy pants English'. I can almost imagine the guy, sitting in a log cabin, polishing his guns and going, 'Oh damn those fancy pants English, with all their fancy pants words, grammar and abbreviation.' Good grief. Bass Player Family, When we debuted our first issue of Bass Player magazine almost 30 years ago, it was cause for celebration—an announcement that bass players were here to stay. No longer did we get just a few pages in a guitar publication. As fanatical bass players and bass fans, it was a joy to be the voice of the bass community and to put our heroes front and center. Since then, we’ve been honored to cultivate and serve that tight-knit and supportive community: artists, gear manufacturers, luthiers, instructors, authors, and historians of the bass world. Most important, though, has always been serving our readers. Nothing has been more fulfilling in our lifelong careers as writers and editors. Now, on the eve of our 30th anniversary, we are no longer at the helm of that ship. Bass Player was recently acquired by a U.K.-based publisher, Future PLC. Beginning with the November issue, BP will be absorbed by the British Bass Guitar magazine, but will continue to be published in the U.S. as Bass Player. The aesthetic of the new BP will be different. No more Community section, full-song transcriptions, or record reviews, and a different take on gear reviews—a different set of priorities, and a distinctly English flavor. The merge means many of our writers, editors, and production staff have been let go or relieved of their former roles. Bass publishing veteran and current Bass Guitar editor Joel McIver will run the magazine. Like you, we are curious to see where he’ll take the Bass Player brand. You’ll likely continue to see some familiar names in the new Bass Player. After all, there aren’t that many veteran bass writers out there. But we “BP lifers” are adamant about keeping our original mission statement—to dig deeper and serve the bass community—alive in some form. Please drop us a line to share your vision for the future, or just to let us know what Bass Player has meant to you. We can’t thank you enough for your continued loyalty, love, and support.

Matt Freeman John Myung (the real fun starts around 3'35") They're both great players but very different. I just love how John Myung does so much without looking like he's doing that much.

Last night (after we'd finished recording), our guitarist said I needed to watch some live footage of a bass solo by Rancid's Matt Freeman. It was frenetic; fast, not a bad note and (to my ears, at least), a bit formulaic and frankly, a bit dull. I decided to pull out my trump card, the delicious isolated John Myung live footage that's been kicking around on YT for a few years. My guitarist was agog, almost like he couldn't quite compute how someone could play bass like that. Thing is, these players are both great at what they do, but just different at what they do. You need to add proficiency and adeptness to the equation to make technicality work. Both these guys have these qualities, but one of them just has a bit more of each.

Thanks for the input. The material is quite a departure from the old school punky material I've done in the past, my wife doesn't like it one bit and describes it as being gnarly and gritty. I'd concur (to a degree!) that the vocals are borderline unintelligible; these are being added after the music is recorded and there's two people singing (regular vocalist and the guitarist). We will roll it out live at some point, at which juncture I'm sure things will sound a bit different, but given the samples and loops, we'll likely be having to utilise backing tracks and clicks. On the point about risk-taking, mark my words, there's a lot of very interesting stuff going on on the more recently recorded material. On the upside, my work here is now done; I finally finished tracking basses about two hours ago and I'm happy me and the other guys are still speaking to be honest. Vocals should be done in the next week or two.

I've been working on this studio project for the last two or three months, just trying to break the fastball monotony of formulaic punkish stuff and just throwing loops, samples, different time signatures and oddities into the overall mix. I'd like some honest responses to this please. I'm really enjoying the workflow, the process and the end results, but it has been a hard slog at times. Overall, I've never worked harder at trying to do more while sounding like I'm doing less. I'm not a fan of the idea of this being an album as such, the work we've done is more this body of work and when the whole thing is mixed it's planned that the songs should just crossfade into each other forming 40-45 minutes of continual listening. These are the first two tracks, Countdown Sequence and Governing, Regulating, Managing. It's not an easy listen. Please fasten you seatbelts and assume the crash position.

Thing is, a 'photos only' thread simply won't stay on track; it'll just end up as a vanity thing because members won't be able to resist show-boating their other gear as well (look elsewhere). A good percentage of the threads on this site rarely stick to the content of the original post. If it was simply builds and builds only, then fine, I'm on board, but I'd give it less than a week before it all starts going wrong!

Updated Gear For Sale List: 01. Mesa Boogie Big Block 750 Amp, Footswitch & Rack Case, £550 o.n.o. - Silverfoxnik 02. Schecter Diamond P5, 5 String Bass & Gig Bag, £350 o.n.o. - Silverfoxnik 03. Behringer 5 Band parametric 19" Rack Unit, £25 - Silverfoxnik 04. Fender Nate Mendel Precision, £575 - obbm 05. USA built 4 string in a 'glo' finish, £1300 - ezbass 06. EBS Compressor, Chorus & Octave, Dr Green Bass reverb & Joyo D-Seed echo and a small Pedaltrain board & bag (Mini I think), £TBA - WalMan 07. Mesa MPulse 600 (flight-cased) and a Mesa Powerhouse 1x15 cab (+ authentic Mesa cover) - £750 the pair - TheGreek 08. 3 Pin (female) DI plugs - The Greek 09. New Chinese Rosewood/Maple Jazz neck, £35 - obbm 10. Slightly used jack, XLR and other connectors - 50p each - obbm 11. Fender Jazz (Mex), in a very fetching blue, strung with flats - £450 12. Harley Benton Progressive 5 Fretless - £100 13. G&L USA SB2 £850 14. (Possibly) Mark Bass Little Mark 3 (will be tight for space so will only bring if anyone messages me beforehand) - £300 15. Mark Bass New York 121, 8ohm (will be tight for space so will only bring if anyone messages me beforehand) - £320 16. Mark Bass Traveller 151, 8 ohm (will be tight for space so will only bring if anyone messages me beforehand) - £350 17. Mark Bass Standard 102, 8 ohm (will be tight for space so will only bring if anyone messages me beforehand) - £400 18. Ampeg 4x10 B410HLF (will be tight for space so will only bring if anyone messages me beforehand) - £175 19. Takemine Jumbo Electro Acoustic bass EG512C, 34" scale, spruce top, mahogany back and sides, rosewood board, gloss natural finish - (will be tight for space so will only bring if anyone messages me beforehand) - £350 20. Boss BR600 Multitrack (boxed) - £95 (NancyJohnson/Paul) - Paypal is fine. 21. Fender/Squier Badtz Maru Hybrid - £210 ( (NancyJohnson/Paul) - Paypal is fine.)

Does it djent?

It works for me on several levels. While I don't mind signature models, or distressed models, as such, the Flea did buck that; Fender could have just put out a nice, pristine shell pink homage to an early 60s Jazz, but clearly felt the Flea was the better option. Anyhow, neck problems or otherwise, this has turned out really well. Reckon it actually looks better than the original.

The guy who's producing us uses TSE BOD, which is essentially a virtual Sansamp BDDI. It's decent enough although I find recording clean a bit restrictive. If you're using the full version of Amplitube (I'm assuming this includes SVX), I can't see why you'd need anything else to be honest!

Ack, nope, I haven't played one and to be honest, much like driving a Lada Riva, I have very little desire to do so. That said, this has never been about whether they're good or bad basses, as I'm sure after a few personalised tweaks they'll play wonderfully, everyone will be very happy and within a few months this very site will be peppered with adverts from members wishing to sell them on. Decals and truss-rod covers aside, the unqualified prosaic assertions of betterment and how close they are to the 60s models that have been made time and again (here and elsewhere) does itch like a rash. You could see from the original prototypes that the body shape/geometry was well off and well off by some margin; I didn't need to do that in Photoshop. Good luck with the pinky.

Here's how faithful your reproduction is. Cosmo's white Epiphone against a cardinal red 1960s Gibson. I've lined this up against the neck dots. Yep, pretty faithful reproduction.