picato musician strings
here’s a cheap looking ad for the british string company picato, from guitar for the practicing musician, april 1988. that … more
picato musicians strings - publishing, sales of musical scores, treorchy - united kingdom, (tel: 01443437... )
any suggestions as to what make or type these strings are and are they of decent casual musician quality? ... thanks, mat
picato offers a comprehensive selection of sets and single strings for a wide range of instruments, we proudly produce picato in the united kingdom using the finest materials and a heritage that stretches back over 50 years .
picato offers a comprehensive selection of sets and single strings for a wide range of instruments, we proudly produce picato in the united kingdom using the finest materials and a manufacturing heritage that stretches back over 50 years. .
pete callard demonstrating an a7 outside line for picato strings. check out my facebook artist page for a full transcription of the line: ...
pete callard demonstrating a ii - v - i line in d for picato strings. check out my facebook artist page for a full transcription of the line: ...
those strings are the chinese ones that come on the bass originally. i believe most folks toss them. i would replace them with d' addario helicore strings .
tony iommi began endorsing picato in the ’70s. this ad came out between the black sabbath albums technical ecstasy and … more
iommi says he’s been told by producers that he needed a set of thick strings to get a big sound. “i’ve never used a set of thick strings and i do have a big sound. ”
i need to set up a new cremona sb3 double bass and it has strings that i cannot identify .
i found these
string i. d. websites
but non of the colours seem to match any of your strings completely .
iommi’s strings had a. 008” gauge for the top e. jimmy page, brian may and billy gibbons have all since used. 008” top e strings. compare that with stevie ray vaughan, pete townshend and malcolm young from ac / dc who all use (or used). 012″ or heavier .
picato users include: paul weller, steve cradock & ocean colour scene, bob daisley, prince sampson (joss stone, des’ree), roger nilsson (quill), mike dignam, and the vamps .
the closest was jargar bass a heavy, picato innovation hybrid bass g, super sensitive sensicore bass c - high, super sensitive red label bass c - high and thomastik spirocor bass orch tuning - medium .
best prices for guitar, folk, acoustic, mandolin and ukulele strings. we stock thousands of string types from the majoy brands and the more alternative string type .
you might to pay attention to the fit of the bridge. the feet look awfully thick and you should be sure the the feet contact the surface of the bass 100% . if you put good strings on the bass and don' t correct the fit of the bridge, you will not realize maximum benefit from good strings .
iommi “invented” ultra - light gauge strings after iommi lost his fingertips he had to apply thimbles to extend his two damaged fingers. originally, he self - made the thimbles with the plastic bottle caps of fairy dishwashing liquid (think dawn, in the u. s .) his thimbles are now leather. but regular strings were still too painful too play. he bought banjo strings and used the lightest for b and high e. “this way, i managed to get rid of the low e string, using an a string instead. ” iommi tried to persuade string manufacturers to make such a “complete” set but most told him, “nobody’s ever going to buy them. ” he wasn’t successful until the u. k’s picato company agreed in 1970 .
strings direct, units 1 & 2 roach view business park, millhead way, purdeys industrial estate, rochford, essex, ss4 1lb company registration number 4226132. vat no. 689983537
chris... that is what i suspected... but hard to tell that to a client that unless you know for sure! i had also emailed folk musician who sell these instruments and they just sent an email saying that these are the original
a lower grade generic steel string
.
i use tortoiseshell picks, one end squared, one end pointed. i have them specially made for me because you can' t get them at all. i use tortoiseshell because plastic is too soft; i like them brick hard. i' ve used this shape ever since i was 11, and i just cannot play with those round things everybody plays with, because when you jump a string you tend to hit the other string on the way. with this pick you can be more nimble. i use picato strings; i' ve always used them. they' re the best; eric clapton turned me on to these. he' s now using fender - i don' t know why. why ernie ball has the monopoly on strings i' ll never know. the gauges i use are. 010, . 011, . 014, . 026, . 036 and. 042 .
for many years i would get my motor insurance through the musicians union, until, one year, i tried to renew and was refused on the grounds that i was a... er... musician? ?? ? now with kwik - fit. fwiw as high as your quotes seem to be don' t be tempted to lie or be deliberately vague in order to get a cheaper quote .
absolutely... the bridge was re carved and the tops of the feet were carved down. strings were too high, the bridge and post were definitely in the wrong place and the post was in crooked and seriously wedged in tight. one of the real problems was getting the tail pin out... i think it was hammered in! ... any ideas on how best to remove stuck tail pins on basses or celli ?
as the topic says, car insurance! im having a nightmare trying to get reasonable car insurance as a musician. im about to buy a 52 plate fcous zetec 1. 6, the best quote i have is just shy of £700 with 7 years ncb. adrian flux have quoted me £2, 000! swiftcover who i' m already with wouldn' t give me a quote for this car! it' s only group 5! the quote for my sisters golf gti was less than this and it has a 1. 8 engine and is group 12, who does it work?' cos it doesn' t make any sense. who are people with here? who can you recommend? dan
self assessment - i do it online. its really just a case of being very organised with your records, and realistic about your expenses. i declare everything i earn (mainly gigs, some college teaching) and my significant expenses - mileage, consumables (strings and batteries) and sometimes a new suit for function gigs (where i make the most £). unless you' re very successful you won' t pay tax on your musical earnings. my ambition remains to earn enough (after expenses) to pay tax... . funny world... . .
i' ve gone through victor c. knight for years, since they were the mu official insurance agency (joined the mu for this very reason !). give patrick there a ring on 02083512400. . he always seems to know just what' s going on. i think mu use hencilla canworth now, but they came up with just too many dumb - ass questions (' do you meet famous people as part of your work?') and quoted me more for the same cover with the same company. in the past i tried a couple of times to get quotes for alternatives; as soon as you mention' business use as a musician' the everyday insurers would double the quote or even refuse to quote at all. they think we' re all marc bolan or we might be carrying sting in the passenger seat (think of the loss of earnings claim. . )
[ quote name =' stingraypete1977' post =' 899157' date =' jul 19 2010, 05: 29 pm' ] so if i (erm sorry derek) were to claim the pre eb stingray and genz rig against this years takings i would get a rebate from my (sorry his) everyday job? thats how i see it and it appears the way but contradicts earlier posts? obviously they would not allow it forever and the gear would belong to the company rather than... ... er derek? [ / quote ] well possibly. you' ve got to convince hmrc you' re carrying on your musician business commercially and expecting to make a profit at some point. then if you spent £2k on the gear plus say £400 on other expenses but only took in £500 from gigs you have a potential loss of £1, 900 to set against your other income but again remember that if you sell the gear for £1. 5k in a couple of years time, then that is income and taxed. note this is a very basic example with a lot of assumptions, but you get the gist ?
i have thought about this too, last year for example shall we say a friend of mine lets call him derek (definitley not me and just happens to have all the exact same gear as me !). well derek plays in a few bands and probably earnt £1500 - 2000 with a few freebie charity do etc on top but also in that tax year had to buy a genz - benz rig, a pre eb stingray bass plus stage clothing, strings, batteries and petrol etc etc. so if i (sorry derek) had declared that year as a loss would that be deductable against his regular job income? hence making it very worthwhile as long as it never makes a profit, which in all the years as far as i know derek never has !
i guess a lot of us here earn a bit of beer money from our various ventures. we' ve got pro players on basschat & we have bedroom players too but i would imagine the majority are people with dayjobs who occasionally earn the odd quid playing with the band. a lot of my gigs have been unpaid but i am now in a position where the band i' m currently with has potential to make a bit of money. realistically speaking we might make a few hundred quid but it' ll never be a case of packing in the dayjob. legally you are supposed to declare all earnings (i' m not naive enough to think most musicans do !) and some employers require you to declare music as a buisness interest. i' m just curious as to who has declared what and if it has been a pain. i' m sure the taxman won' t be delighted to see my putting down an addition annual income of £300 a year but my companies policy is it is declared. what problems have people faced or has it been a relatively simple process? if people haven' t declared, why not? just wondering as i expect i am about to open a huge can of worms for myself. also what tips are there for the semi pro musician? presumably keep all receipts etc
[ quote name =' stingraypete1977' post =' 897320' date =' jul 17 2010, 02: 48 pm' ] i have thought about this too, last year for example shall we say a friend of mine lets call him derek (definitley not me and just happens to have all the exact same gear as me !). well derek plays in a few bands and probably earnt £1500 - 2000 with a few freebie charity do etc on top but also in that tax year had to buy a genz - benz rig, a pre eb stingray bass plus stage clothing, strings, batteries and petrol etc etc. so if i (sorry derek) had declared that year as a loss would that be deductable against his regular job income? hence making it very worthwhile as long as it never makes a profit, which in all the years as far as i know derek never has! [ / quote ] gear buying is capital, so you can claim for depreciation, not the whole cost, unless you blow it all up within a year .
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tony iommi turns 65 on february 19. the black sabbath rifflord is a legend of rock guitar, having a huge influence on heavy metal and all riff - rock for over four decades. the title of his autobiography, iron man – my journey through heaven and hell, is also well - named: iommi recently had to undergo cancer treatment to finish recording the new black sabbath album due summer 2013 .
you’ll know the numerous classic riffs tony iommi has written. but what about the man himself? here are 10 things you may not know about tony iommi .
as a child, iommi was scared of spiders. a boy neighbor – “bobby nuisance, which is the right name for him, ” recalled iommi in 2011’s book iron man – collected large spiders, and once chased iommi down the street with them. “i was s * * tting myself and running down this gravel road when i tripped, so all the gravel went into my face and along my lip. the scar is still there now. the kids even started calling my scarface, so i got a terrible complex about that. ” later, iommi even had a “sparkler” firework go off in his face. “as soon as i could, i grew a mustache. ”
and yet, here’s sabbath at 1974’s california jam with iommi clean - shaven .
he lost his fingertips on his last day of work most know that iommi lost the tips of two fretting fingers in an industrial accident. but it was actually in the final hours of his final day working. the young tony was a welder, joining together components that a fellow woman worker bent into shape. but the woman wasn’t in work that day, so iommi had to take over the pressing machine. he’d never done it before, and this was last afternoon at the factory. he didn’t even want to return after lunch, but his mother insisted .
an afternoon accident then ripped the tips off his middle and ring finger: “the bones were sticking out of them. there was blood everywhere. i was so much in shock it didn’t even hurt at first. ”
iommi likes jazz when he injured his fingers, gypsy - jazz guitarist django reinhardt became a huge inspiration. the belgian had badly burned two of his fingers in a fire, but continued playing, and his never - say - die example gave iommi the inspiration to continue. iommi is also a keen fan of joe pass and wes montgomery – listen to the middle - 8 guitar octaves of “sabbath bloody sabbath. ”
led zeppelin’s john bonham was one of his best friends “john was a good friend, best man at my first wedding, and he liked us, ” says iommi. “sabbath jammed through “supernaut” [ from 1972 sabbath album vol. 4 ] with john on drums once. john loved that track. though we ended up just jamming 12 - bar blues at the end. “supernaut” got too complicated for john! he was going all over the place. ”
for d # (root) tuning, his gauges are. 008, . 008, . 011 (unwound), . 018. 024, and. 032. for c # tuning, he uses. 009, . 010, . 012 (unwound), . 020, . 032 and. 042 .
iommi is a motorhead iommi is a car lover. when he got his driving licence in his late teens, he immediately bought an mgb sports car. he crashed it soon after, though, smashing into trees. “it all happened in slow motion. it sounds mad, but i saw three figures come down, one to the left and two to the right, like angels. and i thought, this is it… everyone who saw the car said, ‘you should have been killed. ’”
his young and reckless driving didn’t deter him. he later bought a maserati, a lamborghini, a rolls - royce and numerous other flash autos. he later sold his rolls - royce to osbourne, even though ozzy couldn’t even drive. ozzy’s then - wife would drive the singer around, with ozzy’s dogs in the back .
iommi blew up richard branson’s fish! ozzy osbourne is always known as black sabbath’s crazy one. but iommi has had his moments. with new vocalist ian gillan, sabbath recorded 1983’s born again album at the manor studios in oxfordshire, owned by record - mogul richard branson. for reasons only known to the ex - deep purple singer, gillan wanted to stay in a marquee outside the residential studios. seeking fun, iommi and the rest of sabbath got together spare pyrotechnics from their band’s last tour and put them around the singer’s canvas abode. on detonation, they successfully destroyed gillan’s garden hideout, but his tent was pitched near branson’s private lake – iommi’s firebomb stunt also killed / maimed many of branson’s prize carp. “he was not happy at all, ” iommi remembers, with typical dryness .
iommi was asked to write the score for “a nightmare on elm street” tony got as far as reading the script and meeting with producers of the 1984 slasher movie, but his manager then asked for a higher fee as it disrupted his sabbath work. the project fell through. but one track written, “nightmare, ” turned up on black sabbath’s 1987 album the eternal idol .
iommi has recorded with over 20 singers in jethro tull, it was ian anderson. in black sabbath, it’s been ozzy osbourne, ronnie james dio, ian gillan, ray gillen, glenn hughes and tony martin. on his 2000 “solo” album iommi, he wrote and recorded with henry rollins, skunk anansie’s skin, dave grohl, pantera’s phil anselmo, system of a down’s serj tankian, billy corgan, the cult’s ian astbury, type o negative’s peter steele, billy idol and ozzy. for rock aid armenia’s version of “smoke on the water, ” iron maiden’s bruce dickinson and free’s paul rodgers sang. you can add quite a few others, such as cathedral’s lee dorian – iommi guested on their 1995 album the carnival bizarre. iommi still reportedly still has unreleased iommi tracks with corgan, idol and anselmo. weirdest singer? iommi once auditioned michael bolton to front black sabbath, after dio had finally left .
ozzy and tony’s relationship has sometimes been tense, but they remain close friends through their music and good humor. as ozzy joked over iommi’s recent cancer scare, “if he dies, i’ll kill him. ”
have a look at the epiphone tony iommi g - 400 and gibson’s tony iommi signature humbucker pickup .
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no, but i sometimes insulate them with copper inside to stop the buzzing. that' s about all, really. i don' t use the middle pickup at all; i get rid of that one and rearrange the other two. i just have bass and treble – black and white, that' s what i like .
four. and i have a friend who balances the arm. he loosens the screws at the very front of the tailpiece and sets the whole thing at a different angle so it is in perfect balance. it' s amazing, you just can' t go out of tune. i never thought it would work. i just used to bolt them down and forget about it. i pull and push the vibrato bar - - it goes down a whole octave when i push it .
no, that' s a little bit of a touch of gray in there .
i never touch the tone controls on the guitar; they' re always full up. but i will turn the guitar volume from full to half when i' m doing a quieter solo. on the amp everything is full up. no, actually i do have markings on the amp, but it' s very hard to say because i can' t compare it with anything. on some amps i have the presence completely up, and on some i have it completely off. and like i told you bcfore, i have no hass. i use a lot of middle because i hate that screeching top; it' s a little bit too penetrating. i use midrangc treble. and the volume is on half; if it was full up it would just catch on fire .
i' ve tried all types of different amplifiers, but they' re a little bit too clear; i like a little bit of distortion which is controlled through my tape recorder. i built my own tape recorder; well, i didn' t build it, but i modified it from a regular tape recorder to an echo unit. it also preamps and boosts the signal going to the amp. if i want a fuzzy effect l just turn up the output stage of the tape recorder .
i just keep it on
record
so it records, and it' s like a continual echo becaus i couldn' t get that echo with any echo machine. a continual boom, boom, boom, repeat. most echo machines are awful; it' s like you' re in a hallway. the tape recorder doesn' t interfere with the note you' re playing .
i don' t really know. i tried using a revox and it didn' t work. i' d really be in trouble if somebody stole my recorder. i' ve been using it for the last four or five years .
i used to do that at home; i used to take my tape recorder and use it as an echo. so i thought if i could use it at home i could use it onstage and it sounded right onstage .
there' s a cord from the guitar into the tape recorder input, and the output stage just goes back to the amp. and i can control the volume, too; i can have it loud with no distortion or vise versa. i have a little footpedal that i can stop and start it with. a lot of people think when they see the tape going the solos are recorded. lots of people ask that. some guy shouted in new york ,
turn the tape recorder off .
actually all that inspired me, i turned it off and really whizzed around .
no. well i do use bass pedals; i' ve only been using them for about the last six months. when the band decides they don' t want to play i can go do my own little set. it' s very interesting because they' re a challenge. sometimes it works great and sometimes it doesn' t, but that' s the chance you take. they' re so loud and so bassy .
yeah, i like f # and dm. e is boring. i don' t do too much in c; it' s a little too obvious, too bright for me. g is a very resonant key, f # is more of a blues. dm gives you the entire length of the neck to do nice open notes .
i hate to do rhythm tracks, they bore me silly. that' s why most of my rhythm tracks are very clinical. i' m so bored with just trying to get the thing right with the drums and the bass. i just love the part when it comes to putting my bit on there because if i clock up it' s just me. but i can' t stand going through ,
i' ve done my bit ,
and the bass player goes ,
oh, i messed it up .
and you do it again and the bass player gets it right and the drummer messes up. of course by the tenth time you start hollering at everybody and you mess it up. and that' s it, you' re over the top by this time. everybody is stale. you become a combination of things - annoyed, stale, worried that you' re not ever going to get it off. and it' s so simple, it' s something you' d knock off in one minute, but get it onto tape is a pain in the ass. that' s why i don' t like recording too much, it' s too clinical. a lot of people love it, they can edit their music and put it together and make it nice, but when they get onstage they' re lost. my way of thinking is the opposite. i love to have that freedom of just going onstage and playing whatever i want to play at the time. i' ll play the numbers, which i' m supposed to play, but in the in - between parts if i' m feeling good, i' ll play something completely off the wall that i' ve never ever played in my life. in other words, i just lay back for the vocal and then i do my bit when it comes to the solo. i don' t like to intricate things in the backgrounds; i don' t like to clutter, i like the foundation to be simple .
i have one speaker in the studio, and i have one in an echo chamber usually. and the' re both miked up, but not very close; they' re miked from about nine feet away because they' re so bloody loud. i play near stage volume in the studio, because the amp only operates full out – it can' t operate at half .
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taxman told me that they are not really interested if you earn less than £1k. i declare everything to be above board (i am in probation) so i don' t compromise myself. in all honesty, when you take off your petrol at 40p per mile and all you gear, the profits are pitiful. i actually have got rebates more often than i have paid tax so i would declare if i were you. its really easy to do on - line and doesn' t take that long. pm me if you want more detail on how to go about it .
for years i played a residency with a blues band in a bar. i have to admit, in those days, we were bad boys and didn' t declare the money we made to the taxman. one of the regulars there, who we got quite friendly with, was a big fan of the band and one night he asked if we would play a gig for his office xmas party. i said we' d be more than pleased to do the gig and, just out of curiosity asked where he worked. he replied
the inland revenue... ...... . fraud dept
. it was one of those moments where time stands still and you see your life flash before your eyes. the singers face went snow white and i thought he was going to have a seizure. he must have seen the look of abject horror on our faces and the penny must have dropped because he changed the subject and it was never spoken of again. so the moral of this story is... ...... karma will get you every time .
i can' t believe the taxman would allow any musical expenses to be offset against tax paid in a' regular' job. i reckon they' d regard the music as a hobby (because you have another job for a living) until, perhaps, the' hobby' starts to make actual income, whereupon they' d want their slice of that cake as well. otherwise, wouldn' t everyone be claiming tax rebates for their' hobbies' ?
it depends on what you will be earning over a tax year. i know 90% of pub bands earn between €3, 500 to €15, 000 in a year but not many of them declare it. two covers bands i know well have had to break up recently because the ir put the finger on them for unpaid taxes. one of these bands was averaging nearly 50k a year. thats 10k per member. not enough to be in the tax net over here but they didnt declare earnings as individuals so the band itself was done. imo declare everything, its not that much work. it may take an hour at most. that way if serious money does start coming in its easy to update the info and claim tax relief, artists relief, loss of income benifit etc etc .
thanks for the responses... bilbo i may well pm you, thanks. i reckon i' ve earn' t less than a grand in 10 - 15yrs but it' s a requirement of my work to list business ventures (& in doing so be totally open & honest). i' m sure the taxman will be thinking
give it up son !
i' m also curious about the 200 people who looked at the thread but didn' t post. do they think this is being watched ?
as someone who has been audited twice for band earnings... . i say regardless of how much you earn (unless its a paltry sum) declare, declare, declare! !! !! i paid £33 tax on my last tax return
[ quote name =' dan670844' post =' 898163' date =' jul 18 2010, 04: 25 pm' ] get an accountant a good one! its worth it. [ / quote ] do people generally think this is a good idea for £300 per year take home? seems a bit ott to me. i already spend a fair bit on insurance, petrol etc and this all seems to be another step towards sapping the fun out of what effectively is a hobby
[ quote name =' burritobass' post =' 898231' date =' jul 18 2010, 05: 51 pm' ] do people generally think this is a good idea for £300 per year take home? seems a bit ott to me. i already spend a fair bit on insurance, petrol etc and this all seems to be another step towards sapping the fun out of what effectively is a hobby [ / quote ] this is exactly what intrigues me - is it worth getting an accountant when you' re just earning a few hundred quid a year? what' s the threshold ?
thanks pete, that seems more realistic at my level. my other question for anyone in the know is that most of my gigs are cash (if we get paid !) & no receipts / full details (ie pete from the red lion paid me £30 for example). surely such casualness isn' t going to go down well ?
if thats the deal, it should be fine. everyone knows you won' t be getting rich from pub gigs. . even the revenue. just record what you were paid, the miles it took to get there and any other immediate expenses that were
necessarily incurred
.
i spoke with a chartered tax accountant (through my work) last year about this very subject, who stated that earnings from a hobby are not taxable. however if the tax man can prove that it is more than that then it is taxable. from that, and it was verified but a second source, i deducted that weekend warriors (those who play for beer money and gear) are safe. for functions band charging several £k' s per gig, i think it could be construed as more than a hobby therefore would declare away. btw o' neills pubs ask for ni numbers on invoices. what do we feel about this from a data protection basis? ?
so if i (erm sorry derek) were to claim the pre eb stingray and genz rig against this years takings i would get a rebate from my (sorry his) everyday job? thats how i see it and it appears the way but contradicts earlier posts? obviously they would not allow it forever and the gear would belong to the company rather than... ... er derek ?
sign up for a new account in our community. it' s easy !
have you tried victor knight? he specializes in insurance for musicians. not actually with him myself but i hear good things. good luck! d
i' m with direct line. 22 years old, first policy that i' m principal holder - £700 for a 2. 0 volvo v50 and that' s with business added on to sdpc which adds price to it. have you given them a call? sometimes it helps to add someone else to the policy ?
[ quote name =' andybob09' timestamp =' 1342526329' post =' 1736517' ] i' m with direct line. 22 years old, first policy that i' m principal holder - £700 for a 2. 0 volvo v50 and that' s with business added on to sdpc which adds price to it. have you given them a call? sometimes it helps to add someone else to the policy? [ / quote ] thats ridiculous! im paying almost £600 for a 1lt micra at the moment. direct line wouldn' t give me a quote. and this is with my dr. girlfriend who works as a uni lecturer on the policy to. i don' t understand ho i' m getting such insane quotes, it' s getting to the point where i' m tempted to give up music as a job as it' s costing me a fortune. i' m not earning enough to make a full living yet. [ quote name =' gapiro' timestamp =' 1342526656' post =' 1736530' ] how old are you? have you actually made a claim (ie protected ncb) add a parento r somethign who has 25 years on it [ / quote ] im 29, no claims, no points, no convictions, will have 7 years ncb next month. dan
something must be loading your policy and it is hard to tell what it is. big factors are: age, sex, accident history, convictions, location, mileage, type of use, profession, car, value etc... have you checked out urltoken
i' m 30, 4 years no claims and i drive an 08 1. 4 astra. i couldn' t get a quote for less than £1200! added the wife to the insurance as a learner driver and it' s come down to around £1000. i wish i could get insurance for £700 !
it' s a nightmare trying to get a decent policy for professional musicians. victor knight is supposed to be good but didn' t bother to get back to me when i spoke to him about a quote. it also took ages to actually get through to him. worth a try though. i' ve got 11 years ncd and a clean licence and still struggle to get a fair deal .
[ quote name =' pietruszka' timestamp =' 1342530125' post =' 1736624' ] right, i' m really confused now (no pun intended), i' ve just got a quote on urltoken and put my mum and gf on the policy as named drivers, the quote is now £589! it costs me less to put more drivers on the car? does any one on here work for an insurer to explain how this works? dan [ / quote ] i think the gist of it is that if they see you as risky and you' re the only driver you will be using the vehicle 100% of the time. if the policy includes two other drivers who are perceived as less risky than you, you will be using the vehicle for a lower proportion of the time so the risk is lower and so is the premium you pay .
[ quote name =' mike257' timestamp =' 1342530383' post =' 1736633' ] i think the gist of it is that if they see you as risky and you' re the only driver you will be using the vehicle 100% of the time. if the policy includes two other drivers who are perceived as less risky than you, you will be using the vehicle for a lower proportion of the time so the risk is lower and so is the premium you pay. [ / quote ] ok that makes sense, but surely its car insurance, not driver insurance. so the car is insured to 3 drivers and is on the road potentially 3 times as much and in that view more of a risk. but i think your way makes more sense. dan
i know someone who quotes his profession as' freelance tutor'. they didn' t ask what subject so he didn' t tell them. why insurers think musicians are a bad risk is beyond me. they' re not insuring the kit we carry around, and the fact that it' s highly valuable to us makes us drive carefully. we don' t often drive in the rush hour (well, the morning anyway) so that' s less of a risk. the probablility of getting stopped on the way home after a gig is high, so the chances are we' ll be sober, not many people end up pissed at the end of their working shift anyway. less risk again. they hit us with silly premiums and then act all surprised and uptight when people like the above - mentioned
freelance tutor
do all they can to avoid the use of the word
music
in their insurance proposal .
[ quote name =' pietruszka' timestamp =' 1342527405' post =' 1736552' ] thats ridiculous! im paying almost £600 for a 1lt micra at the moment. direct line wouldn' t give me a quote. and this is with my dr. girlfriend who works as a uni lecturer on the policy to. i don' t understand ho i' m getting such insane quotes, it' s getting to the point where i' m tempted to give up music as a job as it' s costing me a fortune. i' m not earning enough to make a full living yet. im 29, no claims, no points, no convictions, will have 7 years ncb next month. [ / quote ] direct line wouldn' t give you a quote? they wouldn' t give me a quote online. i had to do it over the phone and that was the best price i' d had so far so took it. that was with a windscreen repair but also having added my dad as a named driver. it' s also kept in a driveway overnight. like a few people have said, i think geographical location has a lot to do with it .
tony. . thanks for the links... i did not know about the one at quinn violins .
i am always amazed how nice some of these cheap instruments are and then... . the set up is just horrible... why can' t (don' t) they spend another 15 minutes for an ok job as opposed to the plain crap they put out... makes no sense to me! i guess i better shut up... they might catch on and eliminate some of my business .
one of the real problems was getting the tail pin out... i think it was hammered in! ... any ideas on how best to remove stuck tail pins on basses or celli ?
if the rod is stuck in the end pin and there is enough to grab on to, you can use a vise grip to grip on to the exposed portion of the rod and very carefulyl turn and pull. if it is the wooden end pin that is jammed in, you should extend the rod and tighten the adjusting screw and wiggle the rod back and forth using leverage to loosen the wooden end pin. if the rod is bent, it is best to replace the whole thing
.... if it is the wooden end pin that is jammed in, you should extend the rod and tighten the adjusting screw and wiggle the rod back and forth using leverage to loosen the wooden end pin... ... ...
thanks ibk... it was the wood end pin... and i had to use your idea of pulling out the rod, tightening the screw and pulling on the rod... but still it was too tight, so i clamped a vicegrip on to the rod (with a heavy leather liner) then tapped the vicegrip with a hammer... it eventually came out .
btw the chuck traeger book notes that a double bass will sound much better with an ebony or hardwood rod rather than metal... is that a generally accepted concept? reason i ask is that my usual supplier does not even show an ebony rod in their catalogue .
back in 1996, i posted a list on my website (pulled from my personal bookmarks) of double bass resources i' d found, simply to share them with other players. over the years, i' ve maintained this collection - adding new resources, removing dead links when i can, and taking lots of link suggestions from the site' s many visitors. now, more than 10 years later, the list has continued to grow, and what you see below is the fruits of my labor. when i had custom software written for gollihur music in 2007, we included database driven links and luthiers directory software so we could more easily maintain the information .
this list changes and grows on almost a daily basis due to new discoveries and submissions. there are a ton of
electric bass links
pages out there, so i' ve narrowed my entries to those that appeal specifically to the double bass side of the world. please jot me a note in our
if you find broken links, have a comment, or have a urb - related link suggestion. if it' s your own page, a reciprocal link is always appreciated; i' ll be delighted to add links to personal pages where the upright predominates under the
players
section .
please add a link to this resource on your web page! it' s my pleasure to share my links with you - - and you can help by telling others about this page. cut and paste the code below to add this linked graphic to your website. here' s the code: < br > < br > < a href =
urltoken
> < img src =
urltoken
border =
2
alt =
double bass links page
> < / a > < br > < br >
the growing double bass luthier directory was moved from the bottom of this page to its own, separate page, to lessen the load time of this page. this list is a great resource not only for repairs, but new and used instruments. please read about the project and contribute information about your favorite luthier so others can find him or her! we also now host a new (summer 2013) upright bass teacher directory so that you can locate a bass instructor near you .
il contrabbasso, by vito d. liuzzi, various topics, includes bassist blog
sizes: double bass sizing faq (¾, ½, ¼, etc. )
the italian doublebass blog by vito liuzzi - history, fingerings, bow... everything about the doublebass
king bass (the original company) and the h. n. white company history
charles johnson' s
mandolin world headquarters
with some urbs as well. (va )
glaesel stringed instrument division / the selmer company, inc. , basses and bows (in )
ifshin violins, (ca) inokuchi & son violin co. (on )
musika lessons - directory of teachers. upright bass not featured, but instruction available
net instruments, searchable database of searchable database of musical instruments and more from 40 + countries. dealers, makers, sheetmusic and more .
formentera - build your own eub on an island in the mediterranean! i' d like to do this; please send your donations to ...
upright transport, bass moving around ny, nj, ct, pa, d. c .
silvio dalla torre (extensive information on various basses, playing, history etc. )
gary karr, solo doublebassist, and his bio, books, videos, t - shirts, etc .
bass player magazine, while electric - oriented, has had much more double bass content of late .
double bass luthiers directory project has been moved to its own page. (click to access )
it includes dozens of double bass luthiers from all over the world, often be a great source for used and new basses as well as repairs, rehairs, and parts. a great luthier is a tremendous resource to us all .
copyright © 1997 - 2008 bob gollihur some photos © the owner' s web page to which the image is linked .
html public
- / / w3c / / dtd xhtml 1. 0 strict / / en
urltoken
picato musician strings is a british string manufacturing company , mainly for acoustic , classical , electric guitar and bass guitar . they also produce strings for other stringed instruments , such as banjo , mandolin and ukulele . picato strings have been hand-crafted in britain since 1960 . when tony iommi lost the tips of two of his fingers in an accident , the picato company designed an extra low gauge string set ( .008 - .032 ) especially for him . in the 70s picato strings were used by many famous rock guitarists and bassists , such as ritchie blackmore , roger glover and eric clapton . 
picato musician strings is a british string manufacturing company, mainly for acoustic, classical, electric guitar and bass guitar. they also produce strings for other stringed instruments, such as banjo, mandolin and ukulele. picato strings have been hand-crafted in britain since 1960. when tony iommi lost the tips of two of his fingers in an accident, the picato company designed an extra low gauge string set (.008 - .032) especially for him. in the 70s picato strings were used by many famous rock guitarists and bassists, such as ritchie blackmore, roger glover and eric clapton.
picato musician strings is a british string manufacturing company, mainly for acoustic, classical, electric guitar and bass guitar. they also produce strings for other stringed instruments, such as banjo, mandolin and ukulele. picato strings have been hand-crafted in britain since 1960. when tony iommi lost the tips of two of his fingers in an accident, the picato company designed an extra low gauge string set (.008 - .032) especially for him. in the 70s picato strings were used by many famous rock guitarists and bassists, such as ritchie blackmore, roger glover and eric clapton.