Woodwind

I really like the P bass body shape. My guess is they'll be comparable to the cheaper Sires.

Well to answer my own question, as it may be of interest to others, I think I'm going to use Routenote as an aggregator. They take 15% of Spotify payment, but no upfront fee or annual subscription. I'm happy with the percentage cut as I'm not imagining I'll get a huge amount of plays - I want a track on Spotify as reference and to catch people who wouldn't hear of me otherwise.

Thought I'd Necro-dredge this thread rather than start a new one. What's the current state of play with aggregators for Spotify these days? A few years back I signed up with Distrokid, but the whole thing was an absolute disaster. I was linked to another artist with the same name, which neither spotify or distrokid could do anything about. Between the two of them they mucked about with the two accounts over the course of a year with the end result being I became the other musician permanently... All my music vanished and I was sent his monthly figures. I can see I need some music back on spotify so will be starting the whole process again. I will not be using distrokid. I don't want to pay an annual subscription. Who is everyone using? Cheers Thomas

I'm not seeing a weak player here at all. I'm seeing the essence of a really good band bass player, a supportive player. These are qualities that will always get you into bands despite or irrespective of your technical ability. And Experience is one thing, ego is another. I've played with many experienced musicians and they exhibit a humility despite their knowledge and technical excellence. I've played with some musicians who have been going a long time, but due to their enormous egos I wouldn't call experienced at all. Being aware of how you want/need to improve is an asset in itself. Take confidence in this. We can always improve, no matter how long we have played or how "experienced" we are. Your approach sounds great! This!!! And once again that word talent is relative. I would want to play with prepared musicians, not musicians who are prepared to wing it because their ego makes them lazy

First show of the year properly confirmed now. 1st of October at Kings Place supporting Ex-Easter Island Head A band I like a great deal and a venue I've wanted to perform at for a long time, so I'm especially happy. https://www.kingsplace.co.uk/whats-on/contemporary/ex-easter-island-head-kelly-jayne-jones-thomas-stone/ Fingers crossed London isn't back in a tier system by October 🤣

Great combos, but heavy by today's standards. I've seen a few on reverb (there's a Polish seller selling a 12 and a couple of 15s) for around the £320mark. With postage, VAT and import etc etc that gets towards 400quid which is a lot of money for an old 100watt combo. In theory these amps are infinitely more repairable than modern class d offerings which is something to seriously keep in mind and could offset the weight penalty. If you could get one in the UK for around £300 I think you'd be happy. Also one to look out for, but will go for considerably more than the workingman, is the Baby Blue. Another really great amp.

The squeaking bass drum pedal on James Brown's Sex Machine makes the track unlistenable for me.

Is that doubling up/repetition of my life is brilliant a mistake? I had no idea.

Absolutely love the look of your bass! Did you make the body yourself or did you buy it? If so may I ask where you got it?

This Evening I orderd, what I imagine are, exactly the same plugs @stewblack got from ebay, then a couple of hours later I discovered a load of extra power cables tucked away in a box on a high shelf and I wished I'd just cut all my cables in half and rejoined them 90° to 90° just like your cables. Ah well. more cheap ebay plastic in the world.

Space my friend, space. I need 90 degree terminations on both ends of the cable to get pedals to sit where I need them 😎

Well worth a look. Multitracked for the album, but creates everything solo live: https://ottolindholm.bandcamp.com/album/alter

I was thinking of cannibalising cables I already own, but they are all integrated moulded plastic so a) the end result will look awful and b) the worry of hooking one up with the polarity the wrong way makes me think I'll start from scratch. I'll investigate ebay now, cheers Stew

Has anyone on here made their own power cables for their effects pedals? Hooking my board to an isolated PSU and I'd love right angle connectors at both ends and be able to shorten the cable run from each pedal. Anyone done something similar? If so where did you purchase the cable and connectors?

I'm no longer in musical contexts where gear sharing is common, but On a couple of occasions where I've been traveling long distance to perform I have had to borrow equipment (usually a drum) from one of the other acts. I liase with the relevant band member long in advance and offer a cash deposit up front. This comes from years playing in rock band settings where gear sharing happened regularly (usually me lending) and it was always rubbish - Crap attitudes, entitlement, disregard for the borrowed equipment. I treat those I borrow from as I would like to be treated.

Most of my bass playing has been on stingray or stingray type basses. I like the sound and look etc. But £3k is absolutely bonkers for a factory instrument. for that money You could get a second hand model, add a status neck, ultra light tuners, maybe try a different pre or pickup and still have most of £1k left. I know which one I'd rather be performing with.

Absolutely. I found the whole alarm will sound Aphex album unlistenable. Again an exercise in transcription without an understanding of what makes the original so successful. Devoid of all soul and counterintuitively lacking a human element. Listening to this again now and it makes me feel a bit ill.

I can't take anything away from the ambition and skill. It's a great piece of work, but it comes across as more a technical exercise. Something is missing. Perhaps this is because so much of the incredible texture generated by the required huge and varied orchestra is lost when using just one type of instrument? I had similar reservations about the Music For 18 Musicians release by Erik Hall last year. I'm not a great fan of the Reich piece, but ones whole enjoyment relies on the tension and human quality inherent in having it played in real time and again the fantastic timbral textures involved. Reducing it to multitrack takes of the electric instruments you happen to own defeats the purpose and it becomes another technical exercise. Again I don't have the skill or ambition to accomplish either of these solo recordings, so hats off to Joe and Erik.

I'll be in the workshop tomorrow, so I'll take a picture of the one on my bench 👌😃

Sorry for the complete thread derail, I have made several custom order titanium chip forks for customers over the last couple of years.

For home use it's of absolutely no concern - you'll be too loud to get anywhere near damaging the cab. At Gigs However, it will be entirely possible to blow the cab. I have blown several hartke 15" cabs when I was in a heavy band (two transpirter 15's and an early edition vx15) . However - these were cabs being used on their own and worked very hard. I stuck with these cheaper hartke cabs as I loved the sound and they were light (for their day) so very easy to get to and from gigs. I imagine you'll be very happy using just the 410. These double cab stacks are a great ego boost, but for the majority of gigs seldom necessary. If I were you I'd buy the hartke rig, regard the 15" as effectively disposable and enjoy the 410

Rainger FX https://www.raingerfx.com/ I've been using their deep space pulsar for getting on for 4 years and they make some other really interesting pedals.

I've only ever played in originals bands and when I was a bassist only ever had one bass at a time (ironically I have more basses now that my main instrument isn't the bass, go figure). I had my sound which was a product of how I played on a particular bass and I needed my sound to do particular things within the context of what I was playing. @fil1p If I was in your situation, ie the context is variable (I presume you are playing covers?) then I could see you either want to have enough basses to nail the exact sound of each of the tunes you play or you have one bass you love that you accept the sonic compromises of in relation to how the original song sounded. I'd rather focus all my efforts on one main bass and get incredibly proficient on it. The WHAT of the sound being more important than the HOW of the sound

Another thread dredge, this time to answer my own question from last year and potentially help anyone in a similar situation. I just bought the latest version of thr Mantic Hulk and it's brilliant! The dedicated dry output is the real winner here along with the facility to have the effect feed killed when the pedal is off. The tracking is really good - I get some odd artefacts with low C and below, but that's to be expected really. I can't wait to get this into some subs at gigs!

Hopefully not derrailing this thread too much: I played on the bill with a band in the early/mid 2000's called Team B who would travel to all their london shows by public transport with their drumkit and gear in a supermarket shopping trolley. It was just pre and during the days of myspace and they had photos of various nightbus journeys home with their shopping trolley fully loaded surrounded by drunk passengers 🤣 Brilliant!