Woodwind

I've always liked how waricks have unmarked fretbaoards as I absolutely loathe position dots on the front. To my eye these octave markers ruin what is otherwise a pretty attractive bass.

Trying to book dates for a mini tour around the UK next year to tie in with anew album. Very similar story from many promoters I'm talking to about bad attendance at shows throughout 2022 regardless of genre and they are worried about booking much of anything for next year!! I can see many small venues getting into big trouble. A very sad state of affairs.

have you played through them yet? I always liked the look of horn type speakers like this.

Thanks for posting this!

disclaimer - I occupy a rather different musical being a solo performer. The last two shows I've done amp free and relied on the monitors (I could never do a show purely on IEM. Absolutely hated every experience of using it beforehand) I had excellent sound engineers with LONG soundchecks (these were festival gigs and I couldn't be *rsed to lug loads of equipment on long distance trains). I had no problem getting the stage sound I needed and had time to develop a relationship and means of communication with the engineers so if I had needed changes during my show it wouldn't have been difficult. However I have tested the water being amp free on previous gigs and they have been trying to say the least, namely due to rushed sound check. I would have benefitted from having my backline. If I was doing my own PA and monitoring (or was in a band doing so) I can't see any advantage in having amps on stage as well as spending time on monitor mix. @BigRedXdo your bands give the engineers a stage mixed stereo feed or do you all DI and let the engineer decide on a "balance"? @KingPrawnAs long as you know all your playing scenarios will work without an amp then there is no need to have one. However if you aren't in dire need for the money I'd hang on to at least part of your amp setup for whatever might be round the corner.

.... and some of this

Expect some of this....

I'm thrilled to be supporting Jessica Moss at the London installment of her European Tour. Cafe Oto, 28th November. If you're familiar with Silver Mount Zion and assorted Constellation Records acts you would have come across her playing. It's a night of "posts". My blend of Post-classical/post-techno and Jessica's Post-Rock. I'll be performing material from my upcoming album, which with production plant luck, will be available on the night. https://dice.fm/event/x5r7l-jessica-moss-thomas-stone-28th-nov-cafe-oto-london-tickets

I'm with all those that say fret it. Get it done and play it. does it have dots on the board? If not then you get the bonus of having a nice blank fretted board (this is just my own prejudice as I can not stand dots on a fretboard 🤣)

Agreed. I use phil jones stuff professionally and rely on it. The previous service department in Birmingham (I forget their name) were very good. I won't be looking at any product that isn't simple to initiate warranty or repairs.

My guess is the wood in the neck has shifted whilst in transit. The bass would have had a rudimentary set up somewhere in its manufacture. Seems like the neck wood has "relaxed" so the truss rod tension pulls the neck more, thus giving you a backbow, which is giving you buzz despite the action. My ray34 has the most seasonally affected neck of any bass I've ever owned. Even going across town through the tube to a rehearsal space can mean it needs a tweak at the other end. Get your bass back from the luthier, put an allen key in the wheel at the base of the neck and turn it anticlockwise a quarter of a turn. Play it an hour or so later. If the buzz is less, try another quarter of a turn and see if this is good. you're taking tension out of the neck so the strings are pulling it straighter. This is normal. If you're finding the wheel turns very easily and has no effect on the neck, it is time to send it back as it means something is wrong with the bass, but my first instinct is nothing is wrong, it's just the wood used in the neck being very sensitive.

As an extra word of (perhaps unnecessary) caution, it may also be worth investigating what the customs and timescale implications are if you ever need to send something back for warranty etc

Ah great! Nice! I think it will be more fun watching it for location spotting 😀

just watched. I know it's just a trailer, but it does look rubbish.

New Cross? They filmed nearly all the live music scenes at The Venue and The New Cross Inn over a few days/nights last summer. It was hilarious negotiating the streets around the crews, the actors, extras and a load of tag along old school punks hanging out

Trace Elliot stuff gets a lot of Love on Basschat. Your combo will definitely move some air and get a good sound (whether that sound is right for your playing contexts is a different matter). Modern amps can be a lot lighter than your combo and if the weight becomes a concern to you, you'll have the facility to remove the amplifier section and pair it with lightweight speaker cabs (this is what I'd do). Welcome back to bass. Enjoy!!!

Yeah it's just for appearance really. I didn't know stagg sold covered cables, thank you for the heads up. Ideally I'd rather not buy yet more microphone cables though 😀

One was definitely a 725, can't recall the other, but it didn't look exactly the same

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One for those that make their own cables. I'm looking at adding a bit of Visual identity to some cables ahead of a photo/video shoot. I make all my own cables and I'm quite tempted to add an external layer to them to give them a slight vintage vibe. This sort of stuff - https://www.ebay.co.uk/itm/4mm-8mm-12mm-PET-PP-Cotton-Yarn-Mixed-Braided-Woven-Cable-Wire-Guards-Sleeving-/263958276725?mkcid=16&mkevt=1&_trksid=p2349624.m46890.l49286&mkrid=710-127635-2958-0 I know it may be a bit passé now as you couldn't move for seeing light fittings in cafés strung with the stuff 5 years ago, but I digress. Has anyone on basschat used this kind of thing? I would like to buy from a UK based supplier, but I'm not having much luck finding one. Anyone able to recommend a supplier?

I've been at two gigs where an RCF has popped on power up (Both models in the ART range) Different venue, different band etc etc so no common user error. In both cases the owners of the speakers when trying to get them repaired have found out this isn't unusual. As I say the sound from all the RCFs I've heard has been phenomenal, but these issues were enough to dent my confidence. I'm well aware that all equipment can fail though. I was looking for reasons not to spend RCF money and allowed this to influence (cloud) my thinking.

That was my initial thought as well, but having seen many RCF power modules go pop I looked at something with a good warranty and supposed better reliability. That said, the sound of the cheaper RCF stuff I've come across has been superb

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The Alto and Headrush are built down to a price point to a greater degree than the QSC. I think you'll find the QSC goes louder (with a superior sound) than the headrush/alto Whether it provides enough of a difference to justify the outlay I can't say. I've recently acquired a Yamaha DBR12 and it's phenomenal. It provides everything I hoped for the money I had available. I don't know how much better it is than an Alto or how much "worse" it is than a K12, but it may be worth a tester Additional edit: I have just done a bit of googling and the Alto/headrush are basically the same price as the Yamaha. The Alto appears very similar on paper spec wise so assuming they are basically the same then 2 Altos should be enough.

Just got a Grampian GR ribbon mic, completely refurbished and modified by Stewart at Xaudia. Quick test recording and it's fantastic! I can see this will be a slippery slope. These older mics have a fair bit of romance to them and can be brought up to modern standards and sound wonderful!