SpondonBassed

I'm liking that. About the only thing that'd improve it for me would be to see more of the audience there.

Very sorry to hear it didn't work. It's given me a few ideas though. I found a bit of planed sapele at Harlow's of Derby the other day when I was getting timber for a garden furniture repair. I have undertaken a new project recently so I can't start on it for a bit if at all.

That's a very good point. Since I last commented I've come around to thinking that this would have to be a special feature set aside from the regular casts. It would take a deal of setting up and a lot of people are already doing it on YT. As said elsewhere, lets not get ahead of ourselves.

I like that. If the podcast is to stand alone it shouldn't link out to stuff at all. We already have the forum for that and if non-member listeners want to find out more, they're more inclined towards signing up. I had 45 minutes overall duration in mind for some reason.

I agree. In fact I'd go as far as to say that the double bassists mustn't get left out. Perhaps we should co-opt a double bassist onto the podcast team?

It's a good question. However, I'd rephrase it so as not to give the impression that it is the only bass in the village. For example, why is the Fender Precision so popular? Does that cover it?

I think that would make an excellent feature. You can find all sorts on YT illustrating the differences in tone from changes in the control settings to the differences in pick and fingerstyle sounds. With our podcast being audio only it removes the distraction of the talking head. The sound samples speak for themselves. We should look at doing some A/B samples in a controlled environment such as a recording studio with a Basschat version of The Stig - free of charge preferably...

The claims made by television (and other platforms) advertising are to be considered as hyperbole. To bond such different materials you'd need to look at differential expansion. In other words how the two materials expand with increased temperature. If the difference is great, you will needs more than just scoring to key the two together. I'd recommend a series of short dowels to stitch the pieces in place. They'd need to be installed with a degree of precision so that without adhesive, they make a tight fit. When you apply the adhesive it has then got less shearing stress to deal with when the ambient temperature changes. A bit of deep research is required. I am not a builder. I am a licenced aircraft mechanic. What's the worst that can happen with a short truss rod? In a single cut body where the rod is anchored short of the bottom horn, string tension might introduce a torsional stress below the anchor point that would have the effect of twisting the neck. I can't see this as being significant unless your neck is exceptionally thin or the bass is stored for a long time in a humid and warm place with the strings at tension. If you are unsure fit a standard length rod. If you can find a shortened rod, go for it. It is a worthy experiment.

Are you talking about the bit of the neck that goes through the body? I was hoping you'd get the bond to take. It may be that some specialist bonding method is needed.

Aw. I was with Mick on that one!

I don't see how the polycarbonate is to blame if the joint gave up at the body. You did say the neck was solid. Vicariously yours...

Not so peculiar as it might sound... I searched and I searched but I could not find the clip where a chap plays a full scale electric bass from the shoulder just like he's plucking on a fiddle. Dang! I can't remember where I saw the clip but it was about three years ago or more. If anyone knows the bassist that I am on about please send me a pointer?

Loving it.

Cutting edge stuff. Go J E!

But seriously, it's great to see shavings so soon. Pure sculpture. Lovely.

I re-read that but let me just make sure... wink is the correct spelling isn't it? Otherwise I'd say your doctor is extraordinarily friendly, if a little dodgy with it.

I like it. I've got a thing for volutes this year. Brave.

I heard in an interview with Abraham Laboriel Sr that he'd lost the tip of one of his fingers on his picking hand very early in life. It was then that he discovered he could use four fingers as we see him do today.. I wonder if the accident evened out the length of his fingers thereby making a rolling four finger pick easier somehow. I ain't gonna do DIY surgery to find out though.

I think I met him once. Is this him?

Let me check on my smugometer: Cracking job Andy! I love inlaid features.

I've just got to the point of making three finger triplets work, after a fashion. When I've got a bit more confidence at that I may go to four fingers. My little finger is significantly shorter than the rest and so it might not work without extra wrist action and the consequential fatigue, wear and tear. Using the little finger as a stiffener for the adjacent one sounds like a good idea though.

Good suggestion! Anyone who captures useable audio from Basschat events could submit their recordings to the podcast team. As you say, when we're up and running and assuming a favourable reception from the membership it could be a regular thing. We'd only need a couple of nuggets of good information extracted from a recording of a workshop or guest speaker to back up a Site Events news item read out by one of the team.

If a band becomes "hot property" for the music industry's machinery, production values come into play. As I understand it, you can have musicians who are only good in live situations with an audience egging them on. Others find studio work is their forte. Although bands do both for the most part, it is not uncommon for substitutions to be made in order to guarantee sales. This is usually done after consultation with experienced marketing organisations.

Er... less worser?

Are you not the bassist the band uses for recording then? I am considering learning to use a decent drum machine myself. My TR606 is a faff to use and with it being analogue, it doesn't save files. To me as a bassist it is really only useful as a metronome. If I was yearning to become a percussionist I'd put effort into getting more out of it it but I ain't so I don't. If I did arrangements for my band's set with a drum machine I'd do so with a mind to put a live drummer in at some point and make it sound better for doing so. The knowledge of how to create playable drum patterns is lacking somewhat at this stage so I'd need a drummer to learn from. I can't seem to reconcile the two ideas though. The 22nd catch has tripped me up there. A real drummer has got to sound better than a drum machine, am I right? (Puts a hard hat on for safety)