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But are they valve watts or solid state watts?

I had noticed this trend of late. I just find it all rather naff. It's something of a self-perpetuating nightmare; an algorithim decides clickbait titles are good, so statistics provided to content creators encourage them to use clickbait titles, which produces verification for the algorithm that clickbait titles are great. This is all part of a wider issue of dumbing down. I've mentioned Scott's Bass Lessons before because the decline in quality is most evident there. The videos were usually of good quality with something to say but these days, they're mostly clickbait rubbish, like 'six string basses SUCK and here's why' before saying that they don't really suck. This also speaks to a wider problem with bass education in that it's become so focused on everything but music. 'Here's how to get gigs', 'how to groove', 'two notes that will change EVERYTHING', 'three secrets that will teach you EVERYTHING about walking basslines'. The exponential growth of this rubbish indicates that many bassists will happily consume any amount of dubious material before undertaking proper music based study.

Sorry to have walked into your cabbage patch; it seems I must bow to your superior erudition. That'll larn me to attempt any expansion on a potentially interesting topic. Please forgive the intrusion; it won't happen again.

The NXT stand may be ugly, but it's fully adjustable in terms of height and angle, and the bass is very firmly held by the mechanism. You could even choose to not fully tighten the bass on the stand, if you wanted it to tilt a bit while you're playing it, and it wouldn't fall off, but you would have to remember to tighten the clamp before you leave, or the bass would slowly slide down.

It all depends on the design of the EUB stand. The NS stand works perfectly well for just leaving the bass on, while you're not playing, but you can also play the bass on that stand too. I don't know how secure the bass is on the stand, whilst you're playing it, as I've not played one. I've seen players do so though, and it seems to be fine.... However, The stand for the Stagg EUB is secure enough to leave the bass on, but due to the design it's not possible to access the top half of the finger board I bought a stand when I had my Stagg, and couldn't help thinking the manufacturers had missed a trick here - if they'd designed & built a stand which allowed you to play the bass while it was in-situ, I think they'd sell one to almost everyone who had bought the bass The EUB stand I "made" from the cymbal stand worked really well though - it was really quite steady & I always felt it was secure I also had a KYDD "Carry On" EUB recently. I bought it to try it out really - it was very compact & packed away neatly + quickly That employed a photographers tripod as stand (a Manfrotto, for those interested) which packed down quickly and easily, was very lightweight and always seems really stable & secure BTW I only sold the KYDD as it was 30" scale, and I was struggling to swap between all the different scales! lol If you are looking for a stand for an EUB, I'd seriously look at adapting Cymbal stands and / or Tripods The Drum shop near me (Drum Depot) were really helpful guys, and seemed really interested in the EUB and how they could help me make a decent quality stand for it, at a low price

Hello! I have been using basschat as a source of information for some time now. I decided to register because of the yellow-note on the home page I started playing bass in the 1980s. I did not care much about brands and stuff at that time, I was too busy playing and writing music, just as it should be! But I remember a Samick Jazz and a crappy Precision-type thing, among others. Then in the 1990s I got a Fender Jazz MIM fretless, which I traded for an Ibanez SR800 fretless, which I feel is built much better. Then I stopped playing for about 10 years. A few years back I picked it up again. Now I have the SR800FL and a Fernandes FRB100, plus several cheap basses I have bought here and there for testing parts and modding. I tried playing jazz, but I just can't . Also tried Death Metal, which is fun. But I think my style lies somewhere in the middle, if it means anything. Thank you for keeping up this site!

Loving the new BC layout, nice work one and all but, can someone please explain what the "watts" thing is please? Some people have none and some, loads. Sorry if the question sounds silly but I can't find out what it is and what it is for. Cheers

I take it back. I have been watching more of his videos recently and his disdain of Rickenbacker and StewMac is pretty humourous

On the Smoothound front, I've found that it wedges nicely under the handle of a Barefaced cab ...

A quick search on the world's favourite search engine suggests that this is most likely a late -70's P Bass copy made/imported by Hohner. I found a very similar one listed as being dated to1978 (with a question mark) in an on-line bass guitar museum. With regards parts, I'd dare say most P bass clone parts will fit. It doesn't look like there's a recess carved for the bridge. Could well be able to buy a loaded plate and transfer across from one that plate to yours. I say that because the scratch-plate would likely not have the same holes as the donor.

That’s an odd one that. The type face looks old, but the headstock shape and bridge look newer. I’d hazard a guess at mid 80’s. The only experience I had with a Hohner bass was a boat anchor of a P about 22 years ago. That had the Fender type headstock shape though.

I agree, I'm sure plenty of educated people would disagree with jaywalker's posts, Goodhall for a start, there's only one person here trying to make this an us and them thread.

You don't think it should have been "Heft"? I'll get me coat....

Funny enough I was reading about this the other day. How they sampled the notes (Along with the FX), and how everything was then played on a keyboard. EDIT: Here you go.Interesting little read. https://noisey.vice.com/en_us/article/689n7a/how-seinfelds-theme-song-was-created

Seen out in the wild this weekend... (Not quite finished setting up yet but enough to be safe 'on the road')

Of the ones I've tried, I like the Cali 76 Compact Bass for general purpose transparent compression, and the Effectrode PC-2A for more of a warm tube preamp style of compressor that works absolute wonders with my acoustic fretless. Ones that didn't make the grade: - EBS Multicomp - the input kept clipping with my bass and playing style. Perhaps the newer Studio Edition has improved things here? - Diamond - lack of a ratio control and some unexplained buzzing when used with my Cioks DC5 power supply meant I had to move this on. - Keeley Bassist - seemed a bit dry and clinical and the attack time was set pretty fast for me - I like the peak to come through a little more before it clamps down. Would make a great limiter though especially as the ratio control goes up to infinity. - RMI Basswitch Dual Band - changed the tone pretty drastically compared to other comps, and the internal 9v-18v puts out a high pitched hum on the power line that gets picked up by other pedals if you don't use isolated power. The Spectracomp looks great if you mainly use one bass and want to set it and forget it. CRAZY amounts of tweakable controls in the editor app, and plenty of Toneprints to get you going, looks like a fun pedal for tweakers. I like to flick between different basses though and prefer something with basic metering and a threshold control for setting on the fly.

No worries I'm glad you like it!

A few years ago I found myself living next door to an 'erudite' musician. A brass player, a teacher, a composer; as a conductor he's done the Proms for years, works regularly with major international orchestras. We had a few conversations about music which I found enlightening from my very limited perspective. This chap had a way of explaining things which made things very easy to understand yet I never felt like he was talking down to me or using his knowledge as a tool to buff his self image at my expense. The thing that sticks in my mind was when he scored a gig with the Berlin Phil. He came round to tell me, bringing his unaffected delight and a couple of bottles of wine for us. Such a nice man.

This is also a good site for some good info http://www.ovnilab.com/

This is the closing credits theme. Just a longer version of the opening titles.

I play some triplet stuff, including the Jean Genie intro, with two fingers. Took a little while to get it fluid, but with the usual start-slow-and-build-up approach it wasn't too difficult. I'd suggest practicing by continuously playing up and down a scale (or any pattern of notes) in triplet groups, especially over the transitions between different strings. Also, if you're going for true alternate i-m-i-m-i-m picking, try playing both even and odd numbers of notes (in triplet groups) on each string so you get used to transitioning between strings on both the index and middle fingers. Alternatively for transitioning down the strings (G to D, for example) you might find raking is helpful. One other thing that I found is that playing higher up the fretboard (if it's an option given the song) makes life easier, although that might just be a personal thing. I've been trying to learn Hit Me With Your Rhythym Stick, starting out by playing the main intro bit which is down on the first to fourth frets. When I started to learn the verse, which is played higher up, I found for some reason that it was a lot easier. I'm not up to full speed yet, but I'm getting there with practice. My biggest progress on that was when Basschat was upgraded and so out of action for most of the weekend, which just goes to show I usually spend too much time on the forum and not enough time practicing!

Yeah, there's a Sub'n'Up on one of my boards (which also has an OC-2), I only use it for the +1 octave. I also have a COG T-16 and a Line6 M5 (which models the EBS Octave) that I could have thrown into the fray, but this is the OC-2 party really ;). I did have 9 at one point, but it's ultimately a bit silly right, so now I just have one of every iteration, boxed etc, with a couple of extras....which of course is completely not silly. Si

Hi there' earlier in this thread i have said that ive owned 3 filters from Spencer @ 3 leaf.. Proton' Wonderlove' & GR2 the latter being the most responsive' with ease of use.. really' far better sounding response from the filter..I.M.O & when paired with octave & drive pedals it too my ears' is just more flexible & easier to arrive at useable sounds Quickly!! This is all subjective of course' but in my experience & also looking @ the price they command on the used market....the GR2 is a desirable unit indeed.

Just found a live version... make of this what you will !

Here is another classic, with a great bass part, skip forward to about 54 seconds to get past the gubbins. More pure cheese... but kinda funky.

Absolutely. (Big Dylan fan here, btw.)

Another one from the 70's:

Now that's just not cricket..

It makes loads of difference! You don't have to carry an amp for one, the stage is quieter for two and you get to hear exactly (well, as close as possible) how your bass sounds in FOH. Subjectively, I find that it's a lot more consistent for me now, I spend less time fighting boomy rooms or awkward resonances.

Thanks a lot, I very much appreciate your reply. I've never played anything with a chord like that before, maybe that's partly why I don't understand it if the approach comes in to play for chords like that.

In that case: NO! In other cases: YES! It really started when I heard "Dear Father" (IMS originally a non-album single B-side) on the radio and later rejected their first album because there was too much singing (!) on it, but it exploded when I listened to "Roundabout" in a record shop. This was before the album came out. THAT BASS PART! That sound! Those arrangements! That song altogether! Later that year I bough "Fragile" without even listening to it first (a rare occurrence). After all it had "Roundabout". Yes taught me there was good music outside classical music, and they changed me forever.

When you discover the "it just works" thing, don't analyse why, just gig the hell out of it.

I'll go and watch a few videos and see what she says. My take is, when I chart stuff out I will always write the full chords rather than something like a bass tab. Firstly, because it helps to have it In case we have to get a dep bass/guitar/keys player. Scales are good to know, and a great reference, but chord tones are more of an accessible way to start making bass lines. For me relating bass lines to chords is better way of understanding harmony and the function of each chord in any given key. It gives more of an ability to target key notes that'll compliment what the others are playing and I can omit notes I know won't work over a chord. If someone gives you a chart with some more unusual chords, say I Will Survive that says: Am Dm G C△ F△ B° Esus4 E it'd be simpler to relate something like a m7b5 to a chord rather than a half diminished scale. Because right away you know which notes you can highlight, and can disregard notes that won't compliment the chord. Plus, you can visualise the shape of that chord, and know where those key notes sit as opposed to having to run through the whole scale to find a 6th or b9 or 11 or whatever the extension to the chord may be She could also be referring to the numbers system!

I think these steam engines on’t railways are dreadful things. It were far better when we just had horse and cart. Life were just so much better.

I know the bassist in my drummer's (death metal!) band is an accomplished six string player, but I can't see myself using it for band stuff somehow. But for solo noodling I suspect it's going to be a lot of fun. This will be on my 'to learn in 2018' list for sure:

This is fundamentally untrue on a number of levels (and I think you probably know that). The only time this might apply, is if you consider it in the context of the music industry prior to the internet (why would anyone do that, it's silly), or whilst having an incredibly blinkered/narrow view of YouTube contributors......and indeed the number of very talented artists today who very much earn a healthy living. Richard Bona recently did an interview where he admitted that he made $2million dollars in publishing since leaving his recording/publishing company (the old system)....go figure huh. Si

And another image emerges: https://instagram.com/p/Bb736fqDCcU/

I once auditioned for a band where the drummer had a shiny new huge elaborate kit and a shiny new huge electric fan pointed at him. He couldn't play either but he sweated buckets.

Okay, I want to test something out. Ahem. Steve Harley and pink torpedoney Rebel. S.P.

Its musicians making dicks of themselves and prancing around for attention like a bunch of kids with ADD. If you think that's a great way to make a living, great, but I don't. Have you actually seen PewDiePie?? The guy is a gigantic twat sitting in his bedroom and shouting at video games. It's the most retarded thing on earth. These are only good sources of revenue in the same way as Primark and McDonalds are good sources of revenue. It's stupid garbage for the lowest common dominator. I'm not ok with it. (yes I know nobody cares, but I like a rant).

I like the white one. I'd have to replace the tort guard though, it's crap. Probably with mint or parchment. Or Spitfire tort if I was feeling flush.

Here you go. Really easy waist strap/gut support to take the weight off your neck and shoulder.