Rosie C

Yes, EBS flat patch cables. I find them much easier to route, and on my other pedalboard they make the difference between 4 or 5 Boss pedals across.

An ebay buy - a CS-3 compressor to add to my bass pedalboard. Still quite minimal but it does what I need.

Congratulations and good luck with the adventures it will take you on!

I have a WL20 - generally works well, but if I use the Bluetooth channel on our PA it can drop out.

I'm not too bad if it's just plywood, PVA and screws, and sandpaper followed by grey primer hides things nicely! The cable is perfect, the blue fits in nicely.

OK, it isn't a bass pedalboard, instead it's for vocal and two mandolins. But with the arrival of an XLR patch lead from @Chienmortbb today, I finished it and I'm pretty pleased with it. Mostly plywood construction, set into the lid of an aluminium case. As with my bass pedalboard it runs from a Screwfix Erbauer cordless drill battery - about 6 hours from a 4Ah battery. The "MicMute" is new (since moving to a headset mic I can't just turn away from the mic) and there wasn't space on my old pedal board for it. The first version was flat, and I couldn't easily tap the pedals on the back row, so I made an angled plywood shelf. The shelf also helped hide the cabling and power distribution. The missing gap is in the hope that Santy Claws brings a Joyo "Oxford Sound" pedal 🤞 so I can take the mandolin straight into our PA rather than via my Orange amp.

Another excellent cable from @Chienmortbb - I needed an XLR patch lead at a particular length and with a right angle connector at a particular angle to finish off my pedal board and it didn't disappoint!

and of course "that's a big violin!" I've never had a problem with stage presence, certainly I get more reaction than when playing my jazz bass guitar. Often there are expectant "ooh" sounds from the audience as I drag the upright on-stage. Mine is painted white and has tribal artwork, so you can't really miss it.

We play a slightly different set every time - partly depending on the venue (we play pubs through to churches), whether children will be present. Adding a new tune every month. We also have summer and winter sets that we flip with the seasons.

I don't know much about this subject, beyond my piano teacher claiming that mothers tend to call children using a falling major third e.g Tom-my! and that feels like a fairly large gap, so a sixth or seventh sounds a lot.

I suffered random feedback problems with a Sennheiser E835, then I changed to a Sennheiser ME-3 headset mic - no problems since

Yes, no surprise that I play upright and fretless. When I came back from the course I interrogated the trombone player I used to sit next to at work, and sure enough - when he thought about it, he was doing the same intuitively.

A recorder teacher at a residential weekend. We were playing in a quartet, and she explained the importance of being aware if you had the third of the chord, and if you did to make sure you played a little sharp if it was a minor chord, and a little flat for a major chord. That blew my musical mind, opening up a world away from equal temperament.

I'm wondering if anyone is using a Zoom H8, and particularly if you're using it with the EXH-8 expansion module? I want to record our band for YouTube type stuff - with 3 vocals, mandolin, keyboard, drum and bass. With the keyboard in stereo, that makes 8 tracks. I currently have a Tascam DR40X, I really like it, but it's only 4 channel, including two internal mics. I was all set to buy the Tascam Model 12, an 8 mic mixer and recorder, but was looking around at other options before committing. I'm drawn to the portable nature of the Zoom H8, as I've found I use my DR40X a lot as it's so easy to carry around and set up.

A month later, the lyre pedalboard is almost finished. I'm waiting for stereo patch leads for the expression pedal, and the 9v lithium battery has been more faff than expected, so that's not done yet. But otherwise all going well...

We did similar, doing a few numbers at Bargoed folk club - the high points being my partner, usually our band's percussionist, singing lead vocal on "Help Me Make it through the Night", and (having forgotten my treble recorder) me playing a bit of John Playford melody on octave mandolin.

I have one of these heavy canvas tool bags - mine is the 450mm and has my spare signal and power cables. It's sort of rubberised on the inside so I expect it's waterproof: https://www.amazon.co.uk/dp/B0001IWI4W/

The strings on my jazz bass are 5 years old. I noticed last rehearsal that the wrap on the 'A' is unravelling so I'm going to have to replace it when it otherwise had years of life left! 😉

I worked in a pub in the days of jukeboxes with 45s. If no-one had played anything for a while the machine would automatically play a particular single for free... same one every time. So not one particular track, but whichever free play was selected that week really put me off it, in there all day every day

My partner learned to play drums and joined the band! ❤️

That's good to know. Rather depressing, I realise I'm talking about a gig nearly 25 years ago, which was much nearer to the 1980s and singles chart success than now I'm not sure what the line-up was when we went to see them though. I've never seen the Sisters - I still love Floodland, but in an interview I read way back, Eldritch was very unkind to his goth fan base so I could never bring myself to give him more money (love the art, not the artist dilemma). As an aside it was very strange years later to begin reading Pratchett and find that 'eldritch' is a real word, I'd only heard it used before in the context of Andrew Eldritch.

Two come to mind... being a goth in the 1980s, in the early 2000s we got tickets to see The Mission at the Bierkeller in Bristol. They started the gig by announcing "we know you've all come to hear our old songs, but we're not going to play them - we're going to play tracks from our new album". The new album really wasn't up to much and we left after a few songs. The other was around the same time and another re-living of my youth, seeing Icicle Works at Birmingham. Much too loud, vocals out of tune, audience too boisterous, left after a short time

I remember my first day in (community) orchestra on a 3/4 bass. As you say I couldn't really hear mine, but when they all played together in tune I could feel mine resonating with the others. Quite other-worldy like the basses were talking to each other!

I had similar problems after a back injury a couple of years ago. I played a Hofner violin bass for a while, but it just wasn't the same as my jazz bass. My solution was to take the jazz to my local luthier. She replaced the tuners with lightweight ones, chambered the body underneath the pick guard, and replaced the bridge for a 'bent plate' type. I think we lost about 1.5 pounds, which was enough to make it playable for me.