Woodwind

It's not your perception. I only use Instagram. It's still immensely useful, but a poor relation to how useful it used to be up until a few years ago. The algorithmic approach where it feeds you more of what you like is completely at odds with the organic way people search for things. Previously I discovered many, many artists, labels and promoters through basic general searches (and was discovered in a similar way). These connections proved very fruitful leading to releases, gigs, tours etc etc Now whenever I search, Instagram just shows me stuff it thinks is related to what I have liked previously, Usually from an American perspective. Similarly people don't discover my stuff unless they search for me specifically. A lot changed when they stopped you being able to search hashtags chronologically. It was great to see the latest posts tagged with #whatever, but now it's just the most popular posts tagged with #whatever, which could be years old and just become a cyclic regurgitation. I don't know what the answer is, but I would suggest you're better off on there than not in the short term and look for something else in the meantime. I never got Facebook or twitter to the point of being useful for me even with a fair amount of time invested and deleted both years ago.

Professional is a relative term I feel. If you're in a covers band that wants to generate bookings then I can see a *good* website helping. This isn't necessarily true for an originals act. I have been a long term user of Squarespace. It's never been cheap, but the latest price increase has led to me cancelling the renewal. The usage I get from it isn't worth the money it costs. I've just put a one page site together with Carrd. As a concise introduction to my music it's fine, easier to edit on the fly than Squarespace and a tenth of the cost of Squarespace! https://www.thomasstonemusic.co.uk Social media (mainly Instagram ) is by far and away more useful for me with the genre I occupy. I don't even run an email list anymore, again replaced by Instagram and the messaging capabilities on bandcamp.

Just had a play. Got some really interesting word combinations that were either perfect bands names for genres I do or have occupied or results that led to a train of thought that gave me new ideas for names. Great work @Jean-Luc Pickguard !! Out of interest have you got your new band name yet and if so did it come directly from this system?

I totally understand. It would look absolutely amazing though - I'm sure Laney would like seeing it.

Great feedback! Any progress on the purple upgrade 😎

Thanks so much. I'm sold 😎

Sounds good! Any sign of funny whines or hums or the like? I've had cheap pedals before where there are odd sounds. I think I'm going to do the preorder for 59quid amyway

This thread is really doing me no favours. Getting very interested in the idea of a nice old trace head, mounted in a new lightweight sleeve partnered with a modern high power 12" cab (X2)

I perform under my own name. So too does a chap in the United States and yes we have the same name. His Spotify and mine became permanently entangled and despite numerous attempts with Spotify and the aggregator I was using they were never truly separated.

Not wanting to derail this thread too much, so happy to take this to messages if necessary. How do you find the Fuzzdog? Good sound? Little extra noise? Was the build relatively self explanatory? As there is a huge pre-order period for these beringhers I am tempted I go down the self build route

On the hunt for a new fuzz to replace my dying Sovtek Big MuFF and this pedal has seriously piqued my interest. Very keen to hear about these pedals from anyone when they do arrive.

I was brought up on this wisdom too, but once I started amplifying acoustic (bass) instruments, I found the facility to add judicious reverb vital.

It went for 126quid!!!!

"... 2. Where will Bass Day 25 take place? The event will be held near St Paul's Cathedral in the Heart of London at the CLS Conference Centre, 107 Queen Victoria St, City of London, London EC4V 3AL, UK. ..." This is the City Of London School. They have various rooms for hire listed on their website, one being a modest conference room, but there is no "conference centre" to speak of.

As a fellow bass woodwind player I thoroughly approve of this! I'm a complete sucker for the Bari'. A covers band playing in a pub would normally signal my time to leave, but a baritone blasting out alongside some popular hits is going to fuel my night nicely. I hope you can get some good bookings throughout the year! As for suggestions I'm completely biased as I'd just be recommending things I'd want to hear - current pop (dua lipa etc etc), dance/pop stuff from that sweet spot 2015-2017, early 2000s hits intermixed with high energy anthems from the 1980s and 1990s. All the best with this. Please keep us updated

Although it seems counter intuitive it's a symptom of mass production. If you have machines and workers set up to make fretted necks, you don't need to change anything to make lined fretless necks. However an unlined neck needs a new worker/bench etc as it has the side dots in a different place, so becomes more expensive to make

Good point! Setting up a mix at home/studio needs to be done at gig levels - as loud as you play on stage. That snare that sounds so good at home listening levels may not be audible on stage or conversely that kick drum that sits nicely with you bass at home may overpower the stage mix. I've seen a few bands with backing track drums this year (and do something along those lines in my own performances) These aren't "rock" type bands, so the visual aspect of missing a drummer wasn't pronounced, but I think for a pub band having a drummer is really important for the vibe

Without doubt generic boxes sadly.

I would pay (a small amount) extra for mass produced basses categorised as lightweight.

It's a very good question, but I suspect it would be a better solution (and sadly more expensive) to add a dedicated high pass filter (like a thumpinator or Fdek) in line with the instrument.

I've been enjoying every update as this progresses. Brilliant! Can't wait to hear/ see some sound samples once it's all together.

That would be a great bass to make headless!

What are fleeces?

I wouldn't be able to get my instrument down to 432 without physical modification. I was regularly commissioned to make crooks for bassoonists returning from positions in European orchestras so they could tune to 440 better (for example 442/443 is the norm in Germany). Until not that long ago the UK used two pitches 440 and 452(or something close). high Pitch stayed on in brass bands after it had died out in orchestras. If you're enjoying the lower tuning why not go baroque and tune to 415? (Which is basically half a step/semitone down)