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Showing content with the highest reputation on 11/12/17 in Posts
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In the interest of clarity, I've got a 2024X and a 2024. The major difference apart from the obvious cosmetic ones, is that the 2024 is over 1/2 lb lighter in weight. As a relatively old bloke from the pre-computer age, I am not very au fait with digital technology, but I will try post a picture when I can get one of my kids to help me. To be honest with you, I haven't played any of the 10 Series basses so I can't comment on the relative merits in relation to the 20 Series, but I am perfectly willing to believe that the 10 Series offers a great deal of the same qualities for a fraction of the price. What I can say with conviction is that the 20 Series compares very favourably with much more expensive high-end "boutique" basses I own and have had in the past. For example, I've got a USA-made Lakland PJ with a Jazz-width neck that is a lovely bass, but it has a far more conventional Fender-style tone and overall vibe .These Yamahas, in contrast, sound effortlessly huge and surprisingly un-Fenderish considering that, at face value they are share many similarities in construction. The Lakland has essentially the same tone as the PJ 5 string that Paul Turner is playing in the video Funkydario posted .In comparison, these Yamahas have a unique tone that you really wouldn't want to change. There are so many basses on the market that sound like Fenders but the Yamahas are refreshingly different.3 points
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Up for sale is my 1998 Warwick Corvette FNA Beautiful finish with gold hardware. Gorgeous neck with low, buzz free action. Flame maple top and walnut veneer underneath. The pickup is amazing and really nails that Musicman sound without the brittle high end, just a lot smoother. Light playing wear, some buckle rash etc. Well looked after for a 20 year old bass. Weight is about average, close to 9lbs Comes with a Protec Contego which is mint, worth over £120 on its own. Have a box and packing for this and happy to ship anywhere Here is some blurb on the bass from the web: This was a short-lived revamp of Warwick's Altus bass and actually the FNA stands for 'Formally Known as Altus', albeit with a slight spelling mistake! It was the first Warwick bass to make use of a Music Man styled MEC humbucking pickup and it worked extremely well. The lack of scratchplate allows this beautiful Honey Violin finish and the gold hardware to positively glow with sophistication. The distinctive Warwick multi adjustable bridge and separate tailpiece are set below the body surface for a minimalistic presentation and the walnut veneer beneath the maple top gives a 'coach line' effect on the body. The sound, although similar to an Ernie Ball Music Man StingRay, still retains that distinctive Warwick quality and feel. It was dropped in favour of the FNA Jazzman with two pickups but remains a beautiful bass, light in weight with a great range of sounds. Thanks2 points -
Excellent, bell end doesn’t get autocorrected!2 points
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No, he said 'world class rock bands'. *Gets taxi to airport, flies to south America, hides in hot smelly cupboard in Venezuela*2 points
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Well... beer does have Oestrogen in it - so when men drink it, they start talking rubbish and can't drive properly. *Runs away*2 points
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Most bassists who claim not to need compression probably have something in their signal chain that is actually doing the job of a compressor. Where it is valves in the amp or something in the sound coming out of the PA. The only way you guarantee not to have any compression in your bass sound is if you: 1. Don't go through the PA 2. Use a transistor amp (not class D) with the input gain well below the level at which the clip light comes on and still plenty of clean extra volume available on the master volume control. 3. Don't have any overdrive/distortion/fuzz effects. 4. Don't use any digital effects. 5. Don't use a wireless system.2 points
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In my exerience, with some guitarists in some bands, it can help to encourage the guitarist, or other musicians, to stop calling it a 'solo' and to stop thinking of it as a 'solo'. The 'instrumental interlude' should involve all members of the band - it's not all about one instrument with everyone else doing as they are told.2 points
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I'm totally with chris_b here - I always look to be in one guitar bands because I love the space and flexibility - as long as the singer/guitarist and I are listening properly and can follow each other we can go wherever we want. I have had guitarists complain about this emptiness loads in these bands and I think it's a non-issue. Listeners don't want a wall of sound all the time, they don't need the chords fully spelled out in order to hear what's going on. If there's a solo they'll be listening to that, or if there's a quiet empty bit they'll appreciate the dynamic change. If it sounds awful then it's not going to be just about there being no chords underneath the solo. I think chris_b is absolutely right that it's a comfort/confidence thing for the guitarist, who just needs encouragement to see things more from the listener's point of view. Though song choice is also important - trying to recreate a Phil Spector wall of sound production with a three piece is always going to have its limitations.2 points
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Before adding any drive or distortion, try pushing the lower mids on the amp to help give the bass a bigger presence in the mix. It might not sound too sexy when it's just the bass on its own but once the rest of the band fires up it will fill a hole in the mix. Distortion can suck the low end from the bass (depending on what pedal you are using and how much distortion you are adding) so in this case it could actually be counterproductive.2 points
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Good morning BassChat fellas, I recently joined the Ibanez family and I would like to share a couple of new videos recorded with a brand new Ibanez BTB 1605 DTF, the first one recorded in my studio: [media]http://youtu.be/bfyVyc4aIhg[/media] the second one, (I'm sorry iPhone quality) was shot on the road in a small venue gig: [url="http://www.facebook.com/enrico.galetta/videos/10211009306208059/?l=6450595835310456813"]http://www.facebook....595835310456813[/url] Happy Holidays! Ciao. Enrico1 point
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You may or may not have noticed, over the past few years I've been in and out of everyone's cab build threads, picking up valuable information and tips on how to go about my own build. I took everything I learned and ignored pretty much every single part of it! I used mdf... I didn't tune it... I've not vented it... I didn't recess the speaker.... And this is the result! ? ? I can't even test it as my only amps at our rehearsal room! Doh! I should add, the only outlay I had was 8 quid for the glue. Everything else (down to the paint) is stuff I've had lying about, so don't feel too bad for me when you're checking out my attempt!1 point
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Bill's correct as usual. Many amps that run at 2 ohms have some kind of limiting circuit, anyway, to prevent excess current draw/overheating, so you're no better off than if you run them into 4 ohms as far as power output goes.1 point
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Probably feedback from 512 previous deals where I’ve “finally found a bass which is a keeper” only to sell it at a loss a month later ?1 point
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As I understand it, it is being in a place offering musical entertainment, and the factors associated with that (drunkenness, high spirits, etc) that constitute the risk, not the remuneration or otherwise that one receives. Again, as I understand it, if they ask you if there are any other things that need to be considered when taking out the vehicle insurance and you fail to mention that you sometimes play at live music venues, which may or may not involve travelling at unusual times, to venues which attract people likely to become intoxicated or generally excited, then they can consider the cover void. I'm not on their side, far from it, just hate to think of fellow musos becoming victims of the sharp, but within the law, practises of the insurance industry.1 point
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But I DON’T think it’s pertinent, YOU do, so you would need to declare, I wouldn’t. Simples ;-)1 point
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The problem is that the insurer doesn't really care how you describe your musical activity, if they consider playing in public (even unpaid) to be an undeclared fact relevant to your claim, then they will fight tooth and nail to avoid having to pay out. Remember, they are looking for an excuse not to pay out, always!1 point
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But the compression in those trousers, I mean, thrusting is baked in with those....1 point
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Yeh, like the guys who remove or cover up their number plates when doing track days.?1 point
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That headstock is stunning. Is that a veneer? It looks like it's a cross cut. Did I say it looks stunning?1 point
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I had one of these, and they are amazing basses Wish I still had mine GLWTS1 point -
Yeah, I'm an unashamed Genzler Magellan fan boy The 350 model is a bit bigger than the TE Elf, but it's only 345 x 305 mm and 67 mm tall, so it's still very much a small amp. I have done a review of it (along with its big brother) here. In summary it's a great sounding amp with very sensibly voiced eq frequencies on the pre-amp, it delivers a surprisingly 'big' (dare I say hefty?) tone and does a great clean sound with the option of using the dual voiced Contour control to dial in either a scooped eq curve or a great sounding, mid-rich old school tone that works great in the mix. It also has 2 Speakon outs so you can run both of your cabs without having to daisy chain them. Oh, and it's ridiculously loud too. I've gigged it with the volume control below 9 o'clock alongside a shed-building drummer, guitarist and keys. I can't recommend it enough!1 point
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at the end of the day the only way to decide on an amp is to try it out, and I don't mean in a shop but in a band situation which means buying one and living with it for a while (or finding a rehearsal studio with one, that's how got on the Trace Elliot amps), this thread just proves it's all a matter of opinion we all have different needs from equipment depending on a host of different factors otherwise we'd all be using the same bass through the same amp and speakers1 point
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Yes. The compression you get from all-valve amps could be part of the reason they're seen as sounding 'better' than SS amps. As you say, valve compression is natural whereas if you're using a pedal, lots of extra 'user available' parameters are introduced - which perhaps is why people get a bit hung up about them.1 point
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To specifically answer the OP's question: compressors as a separate device became more popular with the advent of good solid state amps that slowly started to replace tube amps and their natural compression. Many of the early SS greats like Trace and SWR included compressors in the amp for this very reason and for everyone else there were pedals.1 point
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+1, Lurvly.1 point
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Happy NBD. That looks absolutely lovely In fact..... all 3 of those P's look rather nice You don't need them all, do you?1 point
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+1 I used to bump my thread, then on the 2nd bump, delete the old one, which was a lot of overhead that's now been replaced by one click. And of course most people just posted endless bump posts one after the other. Anyway, what's the problem with it looking like you bumped the thread? Once people get used to the new system they will no longer assume the last poster bumped it anyway, as you can work it out from the timestamps on each post.1 point
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I find it keeps the threads a lot tidier and it lowers the risk of people breaching the marketplace rules.1 point
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You've answered your own question. Just be aware that you need to keep your plucking hand in the same position relative to the pickup upon which you will rest your thumb going up onto the E and A strings. I'd argue that it is a necessary technique to have in your 'tool kit' . It damps the low B quite a lot of the time. In practice it is useful to switch between a number of damping techniques. Depending on your style it's good to try many differing techniques and whittle them down to the most efficient set that you can feel competent with. It should not be a problem going back to four strings. Just stay extra-alert for the first few bars and work out your string options on the fly. It's not easy at first but it isn't hard to get used to it. By the way. I am only a hobby bassist so better advice can be had.1 point
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You can use Google to search basschat (or any website). Limit the search to only basschat pages by adding "site:basschat.co.uk" to your search terms.1 point
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I'm second in his new queue for a build...1 point
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Compression was probably developed during the early days of the film industry and, I would have thought, would have been taken up by the recording studios pretty early on. I have never used compression and none of the guys I see playing at a local level use it either. I can understand its use in the studio where uneven playing needs to be straightened out and maybe some body added to the sound but on a gig I prefer not to use anything that's going to eat into the dynamics of my playing.1 point
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There's a joke in there somewhere about entering the dragon but I can't quite sort it out. Still, the elements are there - do what you can. Edit: Very nice bass, by the way!1 point
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Nice one, The Dolls House is a cracking venue, we played earlier this year, and are back next year. Just make sure you have good brakes on all of your vehicles, the parking is one one mutha of a hill.1 point
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Ooh very nice, I was admiring that for a while on the retailers website. I may get a gang of angry traditionalist after me with pitchforks for saying this, but I thought a tort guard would look amazing on that.....(runs for cover ?) lovely bass though, I am starting my savings tin in the new year for a CS Relic.1 point
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Ok, I thought maybe it was my browser or something. I actually prefer it this way, like you say, it's cleaner and it cuts down on the amount of pages due to numerous bumping.1 point
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I doubt any of them has the slightest clue what they're talking about. What they're actually referring to is that using two cabs sounds better than one. That's the case 99 times out of 100, and it has nothing to do with the impedance load, everything to do with the increase in sensitivity when you use more than one cab. How many of them did side by side comparisons of the same amp with two 4 ohm cabs and with two otherwise identical 8 ohm cabs? I bet you couldn't find a single one of them who's understanding of how a speaker works goes beyond 'you plug it in to an amp'.1 point
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Sounds like they're describing an intangible sense of expense justification! But I'm glad you got the appropriate end of my stick.1 point
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We're in...and that's all I can say !!1 point
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It’s not, in my opinion anyway, just the extra notes. It’s the positional thing too. I’m not understanding why there should have to be a progression from 4 to 5? Having to master a 4 before progressing to a 5 isn’t necessary. They’re, again in my opinion, different instruments. Your first instrument could be a 5 string. I’ve got a student who’s first instrument was a 6 string bass.1 point
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If you're near Derby you are very welcome to come and try mine. Choice of Yamha, Fender and Warwick. All good workhorses in their individual ways. At your budget I'd strongly recommend buying a second hand instrument. In my experience you need to spend a fair bit more to get a decent 5er compared to a 4 string. Partly due to availability but also because of apparent compromises made in design. Mr Big Red X is much more eloquent on this than me. Hopefully he'll be along soon.1 point
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And SOLD! En route to Sascha in Germany as we speak.1 point -
Thundercat: ‘Drunk’1 point
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OK You learn something new every day! Cheers! FWIW I didn't mind pressing return twice to create a paragraph....1 point
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"Who knows where the time goes..?" (Sandy Denny, Fairport Convention...)1 point
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Good article, I do think the late 70's basses are wrongly critisised, my 79 is a great bass, Olly white with a black scratchplate, the article is true though you do need to hunt for a decent one. Above is the latest edition to the family, a Custom Shop 63 which is bloody lovely and has to be about the perfect Precision bass1 point
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Thanks for posting that link TorVic I enjoyed reading that1 point
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New Transcription online! Talk Talk - It's my life | Bass Transcription | Paul Webb Extended 12" version1 point
