Mykesbass

If a secondhand Yamaha ever comes up, can't remember the model number, but I used to gig their BB500H and a 110 cab. Tiny loud and well built.

[quote name='tinyd' timestamp='1436880331' post='2821615'] One thing I've found is that when playing in a band (as opposed to at home) the mids are more usable than the bottom end. The low frequencies tend to cause drums to resonate and generally add to an overall 'muddiness' if not used carefully, whereas the mids sit more naturally in the mix. Of course, this depends on your amp, your bass, the music you play, your band mates' sounds etc, but it might we worth thinking about... [/quote] Yes, this is the next step. Once you have "dialled in" your tone, be prepared to throw it all back out when gigging, as often, what you hear up close doesn't work in the room. Try listening out front with a long lead, and you'll be surprised how often you need to turn bass down and mids up - can end up sounding horrid when you are close to your rig, but at least you'll know it sounds good to the punters. Edit - was still typing as PaulWarning said more or less the same, much more succinctly!

[quote name='bootsy666' timestamp='1432681733' post='2783984'] It has a marshall engine, with 8 cylinders. [/quote] Has this thing been fired in anger yet Bootsy666?

As Discreet says, but I'd also take the compressor out to start with. Also, most active basses will have notched controls so you should be able to feel them click into 12 o'clock. Finally, for clean, keep the gain down and the output up relative to each other. To warm up/make the tone aa bit grittier, turn the output down and the gain up.

[quote name='Shonks' timestamp='1436822091' post='2821199'] ahhh coool...my good deed for the week...! [/quote]

Good work Shonks, it has gone. No doubt will appear again sometime?

Welcome aboard from a former resident of your borough!

Old Crow Medicine Show - would give me the excuse (and possibly enough money) to justify long term double bass gas!

[quote name='Happy Jack' timestamp='1436529563' post='2818892'] Excellent! I've wanted to try out one of those question marks for ages. Is it any good for metal? [/quote] And there will be two of them - a few more and we could have a ? shoot-out.

Something odd going on here: [url="http://www.theguardian.com/music/2015/jul/09/dont-play-neil-young-or-the-doors-bbc-tells-djs-and-programme-makers?CMP=twt_gu"]http://www.theguardian.com/music/2015/jul/09/dont-play-neil-young-or-the-doors-bbc-tells-djs-and-programme-makers?CMP=twt_gu[/url]

[quote name='tedmanzie' timestamp='1436452915' post='2818272'] I understand your point, but I'm not sure this way of looking at the figures stacks up, however I don't know enough about the actual mechanics of the system at this point to form a better argument My gut feeling is that the artist loses out. I know we shouldn't base arguments on gut feeling, but let's take the latest Blur album as an example - I was quite looking forward to it and prepared to shell out £10 for the CD, (or similar for the download). So in that scenario I expect the band might have seen approx 20%, let's say £2. If Spotify pays 0.005p per play (not sure that is 100% correct but it seems to be what i got) then I would have to play the 10 tracks on the album [i]4000 times[/i] in order to 'give' the band £2? Doesn't seem right to me. [/quote] It's probably me, because I like owning tangible thinks, therefore, to me, streaming doesn't equate to owning, so I don't see it as equating to earning when someone buys the album, I see it as equating to earning from the music being broadcast.

[quote name='wateroftyne' timestamp='1436452279' post='2818265'] Absolutely. But the wandering troubadour got money for his sheet music. Dance bands got paid to play (usually popular covers). Getting heard is one thing.. getting paid for it is a different kettle'o'fish. [/quote] My example was of the music getting sold, so it wasn't the troubadour but the songwriter (or more likely, the publisher) getting paid. Likewise, with the dance bands, yes the bands got paid, but they in turn drove sales for the bandleader's records. Another example would be the juke box. That really helped push rock & roll, but the artist would only get paid once for the sale of the record, and wouldn't make anything (apart from a minuscule payment through PPL) for repeat plays, and yet, being on a juke box was a great driver of sales. I like your quote, but without the first you won't have a chance of getting the second.

[quote name='wateroftyne' timestamp='1436451117' post='2818259'] This sounds suspiciously like the age-old '...but you'll get great exposure!' justification when asked to do gigs for nothing. [/quote] No, at least that wasn't my intention. But we have always had a way of discovering new music. At the turn of the 20th century it was pianists popularising songs that pushed the sales of sheet music, in fact there were charts as such way back then, just reflecting sales of music, not recordings. Then we got the dance bands playing the hotels and dance halls, eventually moving on to radio. All of these things promoted the sale of music, and I just hope that streaming will eventually develop a model that will help artists develop a fan base who will support them, just as other techniques have done in the past.

[quote name='ambient' timestamp='1436445095' post='2818190'] No, see my earlier post in the thread where Portishead got just $2500 for 34 million streams. [url="http://consequenceofsound.net/2015/04/portishead-made-just-2500-off-34-million-streams/"]http://consequenceof...illion-streams/[/url] [/quote] OK, keeping with my comparing streaming to radio listening (yes, flawed I know, and will come back to that in a second), this is still way more than the equivalent payment for the same number of radio listens. [quote name='ras52' timestamp='1436446306' post='2818205'] The difference is that the streaming service is on-demand, just as if you'd bought a recording. So it's more correct to compare the economics of streaming with those of purchase, rather than those of airplay. [/quote] As above, the comparison of streaming and radio listening is flawed, but it looks like the streaming payment could be significantly higher than the radio performance payment per listen. I don't know if we're trying to put too much value on streaming, should it not be viewed as a new way of discovering artists that you then go on to support financially via gigs, merchandise, or, at arms length, by giving them the popularity so they can sell branding rights etc?

[quote name='tedmanzie' timestamp='1436440352' post='2818128'] My mcps statement shows just under 400 plays for a track of mine (i think its quaterly) earning me 20p. It doesn't seem like much to me (seeing as I pay Spotify £10 a month), but maybe the reach of these services means it can work out in favour of the artist? If it led to direct downloads (eg from bandcamp) it might work, but why would you download it if you can stream it. [/quote] And that's why I tried to put a financial comparison with Radio 1 - their cost per listen is 0.001p, so your 400 listens via streaming would have been worth 0.4p at Radio 1 rates, your getting 50 times that. When the listens do build up into the hundreds of thousands then musicians will be doing very nicely. It will take a long time to happen, but remember, in the 60s, artists were getting 0.75% royalty on physical sales.

[quote name='ambient' timestamp='1436437448' post='2818105'] I was actually only thinking that this morning. I wonder if radio program's as we know them will exist in 20 years ? [/quote] 20 years, yes, as we have an increasingly ageing population, and people currently in 40s and 50s I would think would still be a strong market. I personally think the big change in listening habits is among the 20 and younger audience whose listening has been shaped differently than those in the older generation. Listen to a local radio station - Heart, Capital etc., they are amazingly homogenised, and have built playlists around audience data and computer profiling. Those listeners are not likely to compile their own Spotify playlists. Just read your signature, on second thoughts, don't listen to a local radio station

Put it in the diary - no anti-social working hours this year, but that means the gigging has stepped up a bit, so unless I have one a long way away I'll finally get to a Bass Bash! [color=#282828][font=helvetica, arial, sans-serif]1. Hamster - 2. Silverfoxnik - BC Rich Eagle, Schecter Diamond P5, Levinson Blade B15, Yamaha BB300, amp & cab tbc 3. Billy Apple - Spector, Jule Monique, Demeter Minnie, EAD 4. Happy Jack - The Entire Population Of China 5. Bluejay - something lefty, provided I don't have another senior moment and leave it/them at home 6. Bassman Steve - Boogie and Barefaced stuff and a Precision or two 7. obbm - new micro-stack 8. Kiwi (?) - GB Shuttle 6.0 and two fEARful F112 cabs, Spector 5, Status 5, Alembic, Pedulla...and maybe the Steinberger 9. Bottle - 1x12 Cab and 1x10 Combo, FX boards and rack amp, Ibanez bass. 10. TheGreek - something a little bit different 11. Mykesbass - Shuker 5 string fretless (old style P Bass), Carvin BX500 Head, Fender Rumble V3 112 cab. 12. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]13.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]14.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]15.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]16.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]17.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]18.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]19.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]20.[/font][/color][color=#282828][font=helvetica, arial, sans-serif] [/font][/color]

[quote name='ambient' timestamp='1436381987' post='2817769'] If a song is played on the radio, Radio 1 or Radio 2 whatever. Then both the songwriter and and band (including the musicians playing on the session), get a royalty paid to them. So what's the difference between that and someone listening via a streaming service ? This is a screenshot of my CD Baby payments page. The amount I get varies enormously from as little as $0.0008 per play, to as much (sarcastically) as $0.010 per play. They owe me 42 pence, which I'm unable to withdraw, because it's below the withdrawal limit, kind of annoying, how many other 42 pences are they sitting on I wonder ? [attachment=195908:Screen Shot 2015-07-08 at 19.50.16.png] [/quote] It is all very speculative, but this could become the new model for the equivalent of radio payments. Radio 1 pays about £40 a play. This will go out to around 4 million listeners. Effectively this means you get 0.001p per listen. The big difference is that radio gets to a wider audience who haven't chosen to listen to that track, whereas spotify will make suggestions. Long term this could become a viable model for musicians, and is certainly better than the blatant piracy that kicked the whole problem off in the first place.

OK, see much edited original post, this has now changed significantly, and I'm compiling a 200 essential bass players over on my blog - [url="http://modlock.co.uk/200-essential-bass-players-part-1/"]http://modlock.co.uk/200-essential-bass-players-part-1/[/url] Please do have a re-read of the first post and feel free to contribute. Cheers, Mike

[quote name='RhysP' timestamp='1436094326' post='2814839'] No, though it was an option. I don't have much of an ego..... [/quote] Got a friend who is a pro guitarist and his pet hate is signature Les Pauls, his take is "there's already a signature on it"

[quote name='RhysP' timestamp='1436093583' post='2814831'] Could be anyone, doesn't have to be a "name" player. When I had my custom Jaydee built in the mid 80's I wasn't even in a band or gigging. [/quote] Fair point. Did you have your name on yours?

Any ideas on Graham foster? A quick Google search reveals one, but he had switched to guitar by the time this would have been made?