Franticsmurf

Got my B6 a couple of days ago and I've spent about 3-4 hours over the last few days setting it up. So far I'm impressed and happy. Impressed that it has so many options and that editing is simple (I haven't felt the need to connect it to Guitar Lab). Happy that it lets me do what I wanted, which was to be able to set up the effects so I can go between them without having to cycle up or down. Coming from the world guitar multi FX, this was the norm but I guess bassist aren't expected to change back and forth mid song. I have four amp-based patches set up within which I can select or deselect individual effects (chorus, flange, phase and delay in my case). The simple editing process means that it will be easy to adjust on the fly during practice as new songs are brought in, or old favourites wheeled out from the cupboard. I haven't been able to test it at gig volumes but at home volume (with the neighbours away) and with headphones I like the sounds I'm getting. For the main band (the Hulla) I'll be using it directly into the FOH and I'm hoping to get the chance to try this on Sunday (still waiting to hear if we're rehearsing). Otherwise, with only one gig on the books between now and the new year (and that one is meant to be quiet, so I'll probably be using my acoustic bass) I'll have to wait a while to see what difference volume makes.

In the late 80s when I first started out on the musical dream* our keyboard player was on the music tech course run by a local college. He managed to get us a gig as the 'house band', which students learning about the recording studio had to record. It was fun as we got to pretend to be rock stars and to present the students with challenges over and above getting the sound on 8 track tape. We ended up with a three track demo for free. An additional bonus came as the keyboardist was given the keys (pardon the pun) to the studio for the half term break. We went in to record as much of our original material as we could over the three days we had managed to organise being available for. The keyboard player - the one with all the studio experience - spent most of the first day trying to set up SMPTE (I think) code on the Atari in the studio while we attempted to set up the mics on drums and amps as we remembered them from the previous sessions. On day two we started to record our long, proggy masterpiece but the Atari wasn't playing ball and it took all day just to get the rhythm tracks down. On day three we managed to complete the proggy number but with only a few hours left, the other 7 or 8 songs didn't have a hope. Until we hit on the idea of setting up as a band and playing the whole set live. Drums in one room, vox in the vocal booth, guitar amp isolated in the drum room and keys and bass Di'd. We managed two run throughs and those are the recordings I still occasionally listen to. *may have been a day dream

We often do an extended version of Hey Jude at the end of 'Hulla' gigs, usually because of audience participation but occasionally singer inebriation. At the end, once I've exhausted the main bass part and variations thereof, I will ascend to the dusty end and start alternating between a slow version of the melody of 'Norwegian Wood' and the main 'Day Tripper' riff. Often with full psychadelic flange. 😃 I'm careful not to go too loud and I'm guessing half the punters never notice. But it makes me smile.

I've managed to squeeze a bass break from 'Leave It' (from 90125) into the Edwin Star song '25 Miles'. It doesn't derail the song and it satisfies the prog bassist hidden within me. I remember you saying this a while back, and now I do the same.

Cheers - I think. 😀 I've also been thinking about the B6 but the price put me off. Until now. Should be with me in a couple of days.

My regret is not having followed my original dream of playing bass right from the start. I'd seen the bass in a second hand shop and by the time I'd saved the money, it had gone. My day bought me a guitar and I learned t play on that. I may well not have spent so much time learning had I bought the bass as eventually with the guitar I could play and write songs unaccompanied. But bass was my first interest. The regret comes from the time when I was starting out in bands with my best mate, a drummer. We had a decent thing going but we were always let down by the bassist and my mediocre live guitar playing. There were two specific occasions when I can remember rejecting a 'proper' guitarist; one who came with a decent singer as a pair (both of which we would have benefited from) and another who would have fitted in with the line up we had. Both times, had I been playing bass, we would have taken them on and while I can't say we would have 'made it', I think we would have got further than we did. I have to admit that playing guitar - however badly - got me gigs, helped me write music, taught me more musical theory than had I played bass alone and is a skill I can still practice. So maybe it's not a full on regret but more of a wistful 'I wonder if it would have been better'?

I was always of the opinion that as a band, you should look different to the people you are playing to. I am referring to pub/club gigs here and I think you shouldn't look as if you'd just walked in as a punter. In the function band it was always black trousers, white and coloured shirt (change half time). A tie (or bow) with the white shirt and I would always wear a waistcoat for the first half as I never found a jacket that I liked. We would always try to be co-ordinated as well. For a very brief stint as a trad rock 'n' roll band, we all got bowling shirts to wear with black jeans. Now I have a black jacket I'm happy with and I'll start the gig off with that and a shirt. It may be paisley patterned or coloured. Depending on the gig I'll also have one or two waistcoats to change into - again usually paisley or coloured - and black shoes. I am looking for The Hat but I'm not a natural hat wearer, so it's proving difficult to know what I really like, and indeed whether a hat is really a good idea.

I went to a friend's house with some mates. He was a musician and the house had a music room in which there were drums, guitars, bass and keyboards. I played nothing at the time while the others managed to fill the available instrument slots and I was left with a big bass guitar hanging around my neck, and I was shown the two notes to play for 'Flash'. The 'band' proceeded to jam and sometimes I was able to keep up. I learned to play the guitar while I was in college and when I returned home, formed a band with my best mate (a drummer) and another school chum on keyboards. It was going to be a largely instrumental outfit playing backing to performance dancers. The keyboardist was the ideas man and main writer and he was very good. The ideas were interesting and creative but perhaps a little beyond our means at the time. He went on to be a published writer. We played a few gigs in the local pubs and clubs playing mainly originals penned by the drummer and me. We went through number of bassists and my 20/20 hindsight points out that if I'd taken up bass from the start (I was a mediocre guitarist at best) we probably would have done better with a more stable line-up. I was offered a bass gig by an acquaintance who became a good mate and played bass and guitar in a series of fairly successful (in South Wales) covers/function band. I drifted to becoming bass only and have never looked back.

Oh the irony. During the lifetime of this topic I have come to realise that the three piece 'new band' I referred to in my first post (don't bother looking back) isn't working. The initial excitement of the challenge (I put it together to play a support slot of my main band, The Hulla, in June) didn't really follow through for various reasons - mainly the lack of enthusiasm from the other two members. I suspect the geetard was more interested in telling his mates he was in a band than actually being in a band, (judging by the number of times he asked for links to his guitar solos in videos on YouTube which I'd taken only for us to see what we looked like) and neither of them did anything unless I pushed for it. The final straw was when I took a break to travel for a couple of weeks and I asked them to keep working on stuff like cues, intros and endings and a song the geetard has been 'learning' since July so that when I got back we could start looking for gigs. Shortly after I left, the geetard sent a message on the group chat to the effect 'it's pointless doing anything now as it's so close to Christmas'. I took that to be The Writing, daubed clearly and in big letters on the wall. I had a chat with the drummer (we're mates and we play together in the Hulla band) and sent the group chat my resignation. With hindsight, I had my doubts about a month or so ago and should have acted then but I wanted to make sure I'd tried everything. So, New Year, new project (hopefully) but with a bit more care taken over picking the people involved.

It's the 10"/8ohm with tweeter. I like it as a backline/monitor cab for rehearsals. Plenty loud enough for rehearsal and would be ok in a small pub gig. I have the tweeter dial set at 12o'clock and I get a nice sound that cuts through. Live, I either go FOH or use 2x TE 2x10"s which are puncher.

+1 for that - I have one in white.

+1 for the Hohner jack. Great look and feel and there are active and passive versions (mine is passive but I believe the active version can be switched to passive as required).

First band (as in bunch of mates playing instruments vaguely coordinated and in tune) 1985 when we were writing originals and obviously we were going to be the next Yes/Genesis/Pink Floyd. 4 years and several personnel changes, reality checks etc, we played our first gig with a mixed setlist of covers and originals later described (to our horror) as 'Post Punk' by the landlord. Edit: We knew we were ready because there was no where else to go but gig; we'd recorded, played dress rehearsals, made videos. Playing with a full line up and a goal (gig/recording) is a great way to progress. Playing with people better than you is even better. Good luck.

Patterns certainly make things easier for me - so in answer to your question it would be songs that don't have an obvious pattern or, more sneaky, where the pattern changes. Ironically some of my favourite tunes buck the pattern trend and I like that in a song. I play in a band that has 'Help Me Rhonda' in the list and for no apparent reason I have a mental block on the chorus of that song. Yes, I know its simple but I always have to check my crib notes for that one. I guess it's become a habit now and were I to not check the notes, I'd do ok.

I've been trying to remember to make more eye contact with the audience. Here is a recent lapse.

To be fair, I don't notice the output drop between 2, 3, 4 and 5 (5 being the bridge pickup). The neck pick up does have more output but is fine with a little volume adjustment.

It would be tempting to replace like for, well if not like then at least similar. But, the gig is in an hour and I need to set the effects up to my liking. So it would be a Zoom B1Four or a Zoom MS60B so that I would have a representation of everything at my feet with a minimum of fiddling. I am familiar with both (the MS60B sits on my board anyway and the B1Four is my back-up/practice pedal) but I guess any simple multi FX unit would do. I'd hand the balance back to the band kitty with my thanks. But, if the shop wasn't a Zoom stockist (in this scenario, the salesman laughs at my suggestion of cheap multi-fx of any kind, implying that no serious bassist would be seen with such an abomination), it would be a reliable tuner, a Laney Digbeth pre-amp and an EHX bass clone and that would probably do it. Not an exact like for like replacement but all pedals I own and have used and close enough for a one off gig.

I use a Sterling 34HH and I tend to find myself using the middle three (of five) switch positions - that is 'outer coils only', both pickups, inner coils only' . The neck pick up is the one I use least - largely due to the style of music I play which doesn't need that deep and powerful tone. I'll use the bridge pick up on its own if I need to cut through. I like my 34HH but I have to admit that the quality control wasn't the best - the 5 way selector switch was noisy out of the box and while it doesn't affect the tone when I'm playing, I would have expected better from what is the most expensive bass I own.

+1 for the Lekato WS-80. I'm using it with an active Sterling 34HH, and active Ibanez EBS1000s and various passive basses, all without problems. I've used it for a couple of 4hr gigs (from fully charged) indoors and outside and it hasn't given up on me. I can't comment on maximum range but I've had no problems wandering about 20m or so from the receiver.

Halloween celebration last night with the Hulla Band. It was in our local rehearsal hall and a freebie for the village locals who support the band. Donations were collected for a local homeless charity. We had a good crowd who came in fancy dress ready for a dance and sing along. The performance was a bit chaotic as the beer and wine had been flowing for a while before we kicked off at 8pm. The first half was about 90 minutes and then, after a 15 minute break, we played for another 2 hours. The last few songs suffered from the alcohol and if I'm honest I didn't enjoy the second half as both me and the drummer, being commuters to this village, were not drinking and therefore very aware of the chaos. The crowd loved it, (the feedback is coming through as I type) and the donations flowed all night so overall it was a success. But it's a shame we didn't play better as the atmosphere was great. Everything went through the desk and we have a good regular sound guy so the FOH sound was good. I was using an Ampeg SVT patch on my Zoom MS60b which cut through the mix nicely and gave me a little bit of grit on a couple of songs where I played with a pick. I was using in-ears and the sound from my bass was nice and clear in that mix. I had a couple of compliments about my playing - obviously they didn't hear the mistakes, of which there were a few. I have one of those blame shifter pedals on permanently. 😂

I quite liked the video - it had a touch of the humour from early Beatles interviews. Edit: And from the Hard Day's Night movie, too.

The Hulla band is playing at their local village hall tomorrow night as a thank you to the village, who have supported the band with gigs and the ongoing use of the hall as a rehearsal room and occasional venue. This will be one of those fun gigs - is themed on Halloween/Day of the Dead so there'll be fancy dress on and off stage. The band is a not-for-profit thing, raising money for local charities including a contribution to the upkeep of the hall and this year we've raised more than £7000. A large part of that went into funding a minibus for the local primary school - being a rural community, transport is a costly part of their budget. The set list is as varied as the individuals in the band, ranging from 'Country Roads' (the first song they ever learnt when it was just a social gathering rather than a full band, and well before I joined) to Dakota (which was quite subdued until I started playing it with a flanger and a pick 😂). As it's local to almost everyone (the drummer and I have a 30 minute commute each way but everyone else walks), there'll be a good atmosphere and it'll probably go on well into the night. We played a festival in the summer and the set list was well over 4 hours with a ten minute break. So although my main bass for the night will be my Sterling 34HH, I have a much lighter headless as an option should the back and shoulders start to sag. 😃

It was ok. I don't think it would have been a single in itself. Interesting that it's being released with 'Love Me Do' as a double 'A' side. To increase sales? My understanding is that it was a Lennon tune started in 1978.

Just had a quick look at the site and there's nothing in Wales. Shame because it looks like a decent resource.

Almost always two, alternating. Sometimes one in a semi 'pick' style (imagine gripping a pick between thumb and 1st finger, but without the pick. The edge of the 1st finger acts as a soft pick). The three finger gallop makes an appearance for the occasional tune ('Does Your Mother Know' at the moment) or if I'm a bit bored during a practice or rehearsal. 😃