Boodang

I can imagine that a Fender Custom would hold its value but not sure it’s worth it! As for ‘badly bolted together’… well, if I had 2 pieces of would, no skill and no money, I’d put one on top of the other and put 4 bolts thru it. If I wanted to join them elegantly and, imho, properly I’d do this;

I noticed Fender custom shop have announced new models for 2024… if you’ve got £5k to spare you can buy two badly bolted together pieces of wood! Out of interest, does anyone here think there’s something magical in these custom shop specials? Would you spend 5k on one of these or for that money might it be possible to buy something of better value!

Between BC, YouTube and No Treble I’ve got my bass bases covered. Not sure there’s a market for a new bass magazine especially if they’ll going to cover the history of Fender…. spare me!!

E. Throw a party to celebrate the first chip on your bass.

I think due to the synthetic core, they have the least tension feel of any BG string I’ve tried. I wouldn’t say they’re like rubber bands but you get the idea. PS A friend of mine put some Steve Harris flats on his bass and we’re like rods… unplayable!

I came across the Galli strings as I was looking for something that not necessarily sounded like a DB but felt like my DB strings. I use synthetic core strings on my DBs and there’s a fair choice available but for BG it was all steel core, so I didn’t hold up much hope. Until I found the Synthesis strings. I believe, and don’t quote me, they are the only nylon core BG strings on the market. So the best way I can describe the feel is ‘buttery’, very much like my DB. I got mine from Bass Direct, they’re not the cheapest strings but like most flats it’s not like I’m going to change them very often. Word of warning… the strings seem very robust when on the bass and under tension (they’ve stood up to live use, even when a guest tried to slap with them!) but they are v delicate out the packet and while you’re putting them on. They do warn you about this but be careful.

I second that. Are you really going to create a better baseline than James Jamerson?!

I have to say, over the years, the more theory I learn and internalise the better a player I’ve become. Also, not to be underestimated, ear training.

I’ve got TI flats on a custom jazz, and Galli Synthesis strings on a standard jazz. Have you tried the Galli strings? Because TI’s after a year of playing is how I would describe them. They have a nylon core which I think gives them a slightly duller tone.

What a weird venue. It must have been like playing to an audience peering over a fence! Was it disconcerting?

Actually I think there’s a lot to be said for going passive beyond the mere technical, and certainly not the start of a journey towards not playing at all. I’ve got a passive jazz, a passive Di (stagebug)…. less to worry about means I’m not focused on setup and focused on the gig, the music and performance as opposed to chasing down which bit of kit has failed me now. In fact, thinking about it, maybe going active is a step towards not playing at all as now you’re more focused on the technical side and losing sight of why you’re there! Just an idol existential train of thought of course.

Absolutely, once you go passive you’re a hairs breadth from giving up completely. Replacing pp3 batteries is what gives meaning to our entire musical existence!

Of course, if you want to minimise the points of potential failure just go passive, so much less to worry about.

Why are people being so stingy about replacing a silly pp3!!! Especially when the options are new battery vs bass packing up half way thru a gig.

If it was an active cab then yes, the effects pedal won’t drive a speaker on its own. This is my setup when not using iem’s…. bass, pedals, then into an active LD System 15” cab.

7.x volts means the battery is history! Plus it’s just a PP3, replace it already!

Very much not! And only gives you 2 aux for monitor mixes, but then it's not that expensive.

Going digital stage box and full iem (no back line) has both massively simplified our setup and improved our sound. Every band member gets a monitor mix that’s clear wherever they are on stage, plus they control there own mix, and the settings are saved so normally it’s just a case of eq’ing for the venue. Setup and pack up times are greatly reduced. After all it’s just a stage box and cables, and it’s the drum kit that takes the longest to setup. Oh and volume on stage is v low. Any potential downsides like having a sentimental attachment to an amp, are far outweighed by a better sound, low stage volume, less gear to carry, quicker setup time and clear monitor mix.

Hey, if you can jam with other musicians that will accelerate your playing no end.

You’re right, it’s too weird for words. I just buy strings that sound the way I want in first place. There’s plenty of flats out there that don’t need deadening out the packet. If that’s what you want, try the Galli synthesis flats.

That’s cool. Keep at it. But look for that inspiration, the thing that makes you want to play.

Once you get past the BS headlines of their PR, SBL is awesome. And it’s never too late to start.

‘It’s me that’s the issue’ raises a red flag regarding your teacher! You can be a musical genius but it doesn’t mean you can teach. Not saying he’s a bad teacher (well, mostly) but a pupil should never feel that way. Definitely chat over with your teacher how you’re feeling. As for theory, it’ll happen over time, don’t force it too much, but stick with it, small chunks. I’ve been playing for over 40 years and there’s always something new to learn, so theory is not something that you put a tick in the box, done that! Maybe try some other avenues for learning for some inspiration. I take online lessons with two teachers, mostly because they have an approach that I’m interested in. Plus I love digging into books that take my eye, like Gwizdala’s iconic lines (I’ve got dozens of books purely for the inspiration), and then there’s the online courses. In other words, mix it up and find what inspired you.

...also, I don't think I can go back to an analogue desk now. We've talked about this on another thread, but setting levels, eq'ing, compression, effects etc is so much easier and accurate with the graphical interface and it can all be saved for instant recall. I just can't go back.... I won't go back!!

Yep, the xr18 and xtouch comes to 1k, we're using laptops/tablets we already own, and you can add £230 for each powerplay unit. But compared to the cost of the instruments on stage it's actually not that much. But I believe the benefits are huge, especially as with a digital desk you've got all the plugins at your disposal, like pultec eqs and classic compressors. Each band member bought their own iem, but I bought the rest. The reason for this it that it doubles up as my home studio for which it's brilliant, and I think one of the big reasons to buy a setup like this.