Beedster

Fixed it for you 👍

Jeez that was really quite pretentious wasn’t it 😂

My take on string selection is that they’re one component of a tripartite system - strings, instrument, player. I love Gamuts on my 4/4, and if I play my Evahs the same way on the same instrument they don’t work for me. But if I back right off on the Evahs and use more pad and less bone in the finger, I can get close(r) to that lovely airy tone. I don’t think there’ one string to rule them all, just a moving triangle of parameters 👍

Agreed, I've been in a lot of bands, and have fallen out with a lot of people in them - some of who I'm still great friends with and with who we still occasionally have a damn good laugh about it all, a couple of others I never spoke to again - and as the result have left a lot of bands over the years and also seen many others leave. But I've never been sacked and never sacked anyone, just seems an odd thing to do in a band....

Most of which, among decent people, are the cue for a grown-up conversation and an amicable - or at least civil - parting of the ways, not a sacking. Perhaps it's semantics?

Ouch, I had the same problem a few years back, not sure I can help much, but I can empathise

Traitors was on ITV 👍 All joking aside, if it was me I'd pick up the phone and tell B exactly what's going on, I'd then pick up the phone and tell A what I've just done. I;d then resign from the band, go to the pub and have a pint. The only way to change the membership of anything but a fully pro band is to resign from it (or allow someone else to do the same, which can be done sensitively if things have got to that point which they sometimes do). Sacking someone from an amateur band is bollocks, especially if done in an underhand way

f*** me that's grim

One of my bitsas, increasingly my go to these days, La Bella DTs, baseball neck, just does the job really 👍

Sometimes you can't be arsed to drag your rig out of the car and walk into a room thinking "I'll use whatever's in there tonight". Last night was such a night, and what a pleasant surprise it was, OK, the lows needed a bit of pulling with some push to the mids and highs, but wow, good old Peavey, and good old Orange 👍 Had a similar surprise with a rehearsal room Ashdown ABM a few years back, I'll see if I can did that pic out also 👍

Yes

It's been my experience, perhaps I've either been lucky or have lower standards

I've had cheap necks that have been perfect and never needed a tweak, and expensive necks that were always slightly out. While of course quality materials and high standards of manufacture are protective, there's always going to be the odd bit of temperamental wood that gets through the process, and I guess it's possible that various treatments - roasted etc - might lower the risk os those that do being a complete PITA. But on the whole, if you keep your necks in fairLy consistent humidity and temperature, and don't change string tension or gauge too often, you really shouldn't have to touch your necks very often once set up.

Hi mate, I've sold loads! A neck will sell quicker if it has tuners as it can be a real PITA for the buyer to find which particular set(s) which fits which particular Fender/Squier model (and as I found recently they can often be out of stock in the UK also). Also money is tight, while you list the full Fender RRP, similar roasted maple MIM necks can be bought new from Amazon for not a whole lot more than you're asking. I'm not saying your neck's not worth it by any means, just that you might need to lower the price a bit if you want it to sell quickly (and re selling it quickly, you did only list it two weeks ago, this is a slow time of year, folks saving their cash for the Xmas onslaught). Also, unless you defo need cash, you'll often do better looking for trades/PX here 👍

Back in the days before cheap amplification upright players use to spend some time finding the part of the stage that they felt best amplified their instrument, usually a resonant bit of flooring near a reflective corner. I've occasionally found this can make a difference to me as the player, even in my music room there's a part of the wooden floor that's more resonant and the whole instrument seems to benefit, but whether anyone else can hear any difference is debatable. As @Jean-Luc Pickguard says, if you're standing on the same platform that's going to kill most of any resonance anyway (you could always lower the endpin and not stand on the platform however, this might be the best bet but would look odd!). Key question is do you want to hear the bass better yourself, do you want the audience/other players to hear it better, or both. I think a platform might help you, but will make little or not difference to other people's hearing it in anything other than a very small and/or quite room.

Nice 👍

Two great posts, thanks guys 🙏

Listening to them now, had never realised just how tight a rhythm section they were 👍

I've never seen one, if you're really on the case however try asking on Talkbass or the Ernie Ball Forums. Good luck.......

Why am I thinking George Clooney in Burn After Reading…….?

Audio purists will tell you not to. I’m not a purist, and generally speaking I and most audiences prefer in tune fretless/double bass and a little (imperceptible) comb filtering to the alternatives 👍

In the days before he was flat out with Wal Paul Herman did a great job on a very badly mangled FL Jazz board 👍