Franticsmurf

Hi Martin. There is no remedy for GAS, just distraction techniques and delaying tactics. 😃

We've all done it - haven't we? Soundcheck at a big outdoor gig with a new FOH guy. My Laney RB7 was sounding good. I finished setting my on stage levels and the sound guy plugged in his XLR DI cable. Went back to the amp a few minutes later for his soundcheck and while he was getting a nice signal and sound out front, the Laney was silent. Went to have a polite conversation with him to see what he'd done to my amp. Didn't want to make a big deal as he was doing the band's sound and we all know a disgruntled FOH engineer can make a difference. I left him with a mildly annoyed 'well it was working before you plugged your XLR in'. I went back to the amp. Noticed the volume control was at zero. Used it for its intended purpose and there was my on stage sound again. For some reason I'd turned it down after my stage check, something I don't normally do. Went back to the sound guy like a small school child and apologised. I think the gig was ok (we got asked back) but my memory is clouded by that one incident.

I acquired an Ultra Octaver late last year. It's not made the final board yet (it's bigger than the mini pedal it is going to replace) but I like the sound I'm getting from it.

Hi Rob.

Hi Leroy. welcome to the site.

May I suggest an alternative title 'When Slap Bass Goes Wrong' for the C5 market with guaranteed repeats on YesterDave. Slap goes wrong all the time for me, which makes me a truly talented bad good slap player. I think. 🤔

As a bass player, it seems logical that you want the SE to hear a representation of what you'll be playing. So a run across the fretboard makes sense. I would also demonstrate any specific effects that may alter the tone and/or volume (I'm talking synth or filter effects primarily) so the SE isn't trying to fix a problem that doesn't exist. I'm fortunate enough to never have come across such a beast, but I can picture the fun to be had by, say, playing with the bass volume turned down and insisting it's a problem with the FOH. 😃

I usually just play pentatonic scales or whatever song the band plays as a general sound check. We went through a period a few years ago where it seemed that at every club gig we played, the last song the DJ played before we went on was 'Simply the Best' so got into the habit of playing that bassline. I like the idea of playing Money - on of my favourite Floyd songs and one we occasionally play.

Every day I ask myself that question. 😃

EHX Electric Mistress. Took me ages to get a sound I liked that wasn't too over the top and didn't boost the bass excessively through the flange cycle (I have it on a slow rate). Then I got a one-off gig for an Eagles tribute and had to get a decent OTT flange sound for 'that bit' in Life in the Fast Lane. I ended up finding that sound in my MS60b. I don't use flange often (I'm more of a phaser phan.... er fan) but the Electric Mistress sits on the board just in case.

Nah, they rip open too easily. 😂

Yes.

I have a BAM200 and I bought a Gnome 10/8 to go with it. The Gnome has a volume control for the tweeter which adds some top end but the control and sockets are on the top. When putting a bigger amp on top of the cab, or for stacking two cabs, the sockets are obscured. I use it in rehearsals (it's left in the hall we use) and the sound is ok. In the photo, I have the Gnome and a TE cab stacked and you can see the size difference. For gigs I now use 2 1x10 Trace Elliot cabs with a Peavey Minimax amp. The TE cab is smaller and lighter (I had to go as light as possible after getting a hernia). I prefer the sound of the Trace Elliots, either with the BAM200 or Peavey, as they have more punch.

Hi Roger.

Hi Steve.

Hi Joe.

Is it a clean booster, or does it add some drive? And, most crucial, where does it come in the signal chain? 😂

In the last year I have had four DPD collections arranged. For three of them, the driver didn't turn up (I was in all day on all three occasions and on one I watched the van sail past my house without stopping). When I finally found a contact number, the customer service department were apologetic (as they should be) and on two occasions confirmed that the driver hadn't been near my house as shown on their GPS tracking system. The first time the driver claimed there was no package to pick up (probably correct as he was at the wrong house). If it was me, at that point I'd check the address to make sure it was correct. The other two times he was told that the package had already been collected. Not sure who told him but that would be a heck of a coincidence if the places he'd been to also had collections by DPD scheduled that day. In all cases the collections were eventually made. I've raised two official complaints with DPD (no action expected) and one with the company who organised the collections. I have to say that their deliveries are fine; quick and on time.

Hi Pete.

Welcome Greentext.

This reminded me that a mate from school, Robert Perry, was briefly associated with The Enid. He played a part in getting me into playing in a band when we wrote the odd (very odd) song or two together while still at school. I used to borrow his synthesisers (a monophonic Yamaha CS10 and a Korg Delta) and for a few months we were working on a line-up that would have been our first band. The idea was to play backing music for a modern dance group. Rob was the creative genius but he moved away to work for The Enid, initially writing copy for album covers. IIRC he wrote a few lyrics and played bass drum (!) with The Enid at a gig in London. Apart from one brief appearance at which he recited poetry at one of our gigs, I lost touch. So just now I looked up The Enid on Wikipedia to see if my memory was correct and found he was listed as playing keyboards with them in 1988. Following through I see his main claim to fame now is writing and script editing. He has worked with Mike Tucker, also a school mate, who has done a lot of special effects work for TV and film.

Jedson (short scale tele bass - I thought I was the only one but there at least two in the lists above). Colombus (J - with matt black strings - it had a great sound for recording) Fender (J - borrowed for my first bass gig) Hohner ('The Jack') Aria (short scale) Ibanez (GSR200) Ibanez (ATK) Steinberger Spirit* Steinberger Spirit headless twin neck (bass and 6 string)* Tanglewood (fretless) Epiphone (EB3) Cort (J) Gretsch (Electromatic)* MM Sterling (Stingray 34HH)* Fender (P)* Sire (V5)* Artisan (acoustic)* HB (GuitarBass VI)* HB (Fretless J)* * = still with me.

I started off learning and practising bass to the songs from bands I like - alas, as a confirmed prog-head I found a lot of it intimidating and difficult to master and, more importantly, hard to use in the cover songs the band I was in were playing, which was not a prog band. For a new band project I recently started listening to songs I'd originally dismissed for various reasons (Abba and disco in general, funk and modern dance). While they aren't my favourite genres, they certainly have great bass lines that are interesting and satisfying to play and also taught me a number of bassic (yes) techniques, licks and runs that have improved my playing and make it into the songs we're doing. In other words, regardless of your preferred style, listen to any and all of the suggestions above and (no doubt) below to get a good grounding in bass technique.

Hi Oliver, nice collection there.

Ciao Camarillo.