Leaderboard

Most tuning variations from A=440 on anything made before the mid-80s will almost certainly not be deliberate, but down to one (or a combination) of three things: 1. The tempo of the recording was altered by changing the playback speed of the tape machine at mix-down or mastering in order get the correct "feel". The change in pitch is a side-effect of that. 2. The only tuning reference in the studio was not set at precisely A=440. 3. The recording incorporated an instrument that could not (easily) be retuned and therefore that had to be used as the tuning reference for the rest of the musicians. If you are playing the song live, unless you are incorporating an untunable instrument ito the performance you should probably tune to A=440. If you are just playing along to the recording for your own enjoyment and in order to learn the song, either use software to retune the recording to A=440 (without changing the tempo), or retune your instrument to match that recording.

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This is pleasing! Quick over view: Bass>Cali76>Stomp>Spark Trapper in the FX loop of the Stomp, mix at about 75% set as pictured. The Cali76 is just catching peaks and only really doing about 5dB gr. I normally play quite evenly so it's more for the tone enhancements the unit provides as much as the gentle/subtle compression. The spark is set to the 'Mid' voicing and is just a lovely addition adding in some poke and a touch of very slight gain/edge. It really is a combination of gain staging in small levels whihc just adds to the overall sound - a glorious "clean" (slightly gritty) always on tone with added drive when needed. There's a bit of eq happening on the Spark too but its not overly colouring things. Playing this set up into a very clean SS amp and it's really nice!

With a fretless, you have the opportunity to always be in tune with the others, which is not the case with a fretted or fixed notes instrument. So, it's a kind of perfect instrument on its own, but you have to listen to the others and not rely on a perfectly pitched note on a strobe tuner. That said, paradoxically, practising alone and playing perfectly pitched notes will improve your intonation a lot. As Alain Caron always says, and he is a terrific fretless player exactly knowing why and what he's playing, music is 10% gift and 90% sweat. Fretless as you might know it is my main instrument since more than 30 years, and yes I play a lot in the dusty end, and yes I play chords, but I've been practising a lot and persevered... So, yes, persevere !

Here is this afternoon's listening pleasure. I googled "80s british dub" and this is one of the first that came up. Their profile says "Strictly Reggae, all kinds but favourite is 70s and 80s Roots. Started in the 90s so have a soft spot for that era too. Strictly vinyl selection." which means I shall be returning frequently to their stream. There are over 140 shows on there.

Heres the tab, watch out it is quite tricky!

Not sure I want an amp with a built-in Essex, I like to keep all my Essexes very external

It was our biggest song. The cheers when we played this at the end of the night!

I can be general, but correct I can't get specific because these techniques are in fact still used in commercial products being designed today. One of the biggest challenges with any driver is balancing the desired characteristics with their side effects or negative attributes. Sometimes, this works in the designer's favor, but often they can conflict. The critical part of this is correctly identifying the attributes you wish to exploit and those you wish to minimize. It's easier said than done of course, and sometimes, it's simply an impossible set of compromises and a different approach in needed. One characteristic that's VERY important to bass players is the midrange voicing, and how that voicing integrates with the tweeter. This is also heavily influenced by the polar pattern of the driver which is governed in part by the diameter of the driver but also by the cone/dust cap shape, material. Another characteristic is how well the driver tunes in the desired cabinet size. Different choices of soft parts results in different parameters that can make a driver more or less friendly to a particular range of cabinet sizes. This means that if the goal is a smaller than average cabinet size, TS parameters may be adjusted through the selection or tailoring of soft part properties. Another property that a designer can address is what happens to the VC as it enters and exits the non-linear portion of the magnetic field and the shape of the magnetic field fringe is shaped, specifically the ends of the VC, and how the inductance and the VC current interact with the fringed fields. Note that the fields are often not perfectly symmetric, this can become a blessing or a curse depending on the goals and the component parts. Xmax is something that comes up a lot in LF driver discussions, there are different definitions, sometimes different goals and sometimes different mechanisms depending on what parameter the designer is more concerned with. For example, it's possible to design a driver with more robust mechanical suspension parts than the basic Xmax might suggest depending of the characteristics of the fringe field performance, as well as long term ageing and mechanical reliability metrics. While the AES power rating standard is a 2 hour "must survive" test, I typically use a 200 hour "must survive" test because the companies I design for have longer warranty periods and the customers of those products typically have greater expectations. This is just a little bit about what goes into designing a driver.

But that's not true is it. We're talking covers bands, ergo drunken covers band crowds. And it is an immutable law that regardless of what song the band is playing, the crowd are all dancing to the beat of In the Summer Time by Mungo Jerry.

So the tempo does matter? Or it doesn't..?

Heres one for the pedantic ones Dave

Its not justification for owning more instruments, if that's what you're seeking.....

Is this auto correct playing up or a signature model that I am unaware of?

I think it has come up a few times before, I tried to change it but can’t remember why it didn’t work.. there was some sort of problem in front of the keyboard 😂

You only need to punch the information into a drum machine once... ...I'll get me coat. I prefer the experience of playing with a live drummer, and will always try to record with a live drummer whenever possible, however an awful lot of modern production is done with programmed drums (not necessarily a drum machine per se) and it's often difficult to tell if you have someone who can programme in BFD or Slate Drums. Entirely contextual I think.

The sisters of mercy do ok.

If you haven't seen it, go see "Amazing Grace" film.

Zoot 32” Funkmeister P bass review Over the course of 25+ years and many, many basses I finally concluded that: 1. I particularly love the Precision sound 2. I don’t need more than 4 strings 3. Standing around playing for up to 3 hours was stressful to my back and shoulders 4. I was getting stress injuries and ‘trigger finger’ with my left hand I have many friends who use basses made by Mike Walsh of Zoot (Iceni) bass in Essex. I originally hail from Essex (Mersea Island), and I’ve met Mike on a couple of occasions over the years. I did own a fretless 5 made by him many moons ago. I bought it 2nd hand from a guy in NI and it didn’t work out mainly because it hadn’t been looked after and the cigarette smell wouldn’t go away. Mike offers the opportunity to place a deposit and then make payments as the build progresses. He’s busy now and back to being a ‘one man band’ so build times are creeping up to and even over a year. I had a couple of basses to sell, and the monthly transfer of funds wasn’t an issue. Due to my regular changes to the spec the cost rose steadily! I have a 2008 Fender Jazz in off white with both white and tort plates. I bought it on Bass Chat (Nick Carey). He had the neck fettled by a top luthier (Mr Robinson in Bolton) and upgraded the tuners. I fitted a high mass Gotoh bridge and upgraded the wiring (still passive, VVT) It’s an awesome bass and more than the sum of its parts. It’s also the model colour wise for the Funkmeister and a keeper. Another huge inspiration was seeing Mike Birch’s black 32” scale Funkmeister P finished. So, to start with, a 32” scale. I believed that the 32” scale is the ideal compromise for me. I find 30” a little bit ‘wee’. Ownership for several months has validated this choice hugely. The body is scaled down to suit the neck and it’s also chambered which has made a huge difference to my comfort. I’ve not weighed it yet (I will, for the review) but it’s light! Lightweight Hipshot tuners are fitted with ‘proper’ ears and it balances absolutely perfectly. I wanted a matching headstock, a maple neck, and an ebony fingerboard. No front markers. I initially wanted a John East P Retro. Sadly, John was having problems obtaining the rechargeable battery at the time and they were temporarily (?) discontinued. Mike had a cream Haussel pickup that he suggested I could use. This was a change away from the black that I had in mind, but I thought it would work well with my colour scheme of off-white bass and ‘Colgate’ white plate. When the P Retro became unobtainium Mike suggested a Noll 2 EQ with an active/passive switch and passive tone powered by 18volts. I have heard many positives about Noll and went with that. Things I changed as the build progressed? 1. A zero fret was added 2. I decided that I would like a 3-piece neck for added stability. The centre of the 3 pieces is reversed. 3. The next add on was to add ebony veneers between the 3 neck pieces 4. I had Mike add in his ‘magic’ filter circuit with a switch between the controls 5. I had a 2nd ’tort’ plate made to give me that option I had already specified Dunlop strap locks and Dunlop flatwound strings. I value 4 main things in a bass. It must look good, play well, have good build quality, and have a versatile and strong tonal palette, capable of the job it’s designed for. It excels on all 4 counts. Looks: I love it! The finish is flawless, the ebony board is very black, the matching headstock is stunning and as an added, unexpected extra the neck is flamed maple. Looking down at the neck while playing can make me smile in appreciation as I see the flame finish and the neck veneers.. Playability: Perfectly balanced, light weight (7lb 10oz on my fishing scales), and that slightly shorter scale makes a huge difference to my left hand comfort. I went with Mike’s suggestion for the neck profile and it’s not particularly shallow as per modern trends, but it just feels right. Fret access (I don’t often go there) is very good too. Build: Its fit and build quality matches its finish. In terms of fretwork the neck is very well dressed and the trussrod is smooth and light to turn. The neck is super stable. The zero fret takes any mention of the nut depth away and the neck has a neat 5-bolt fixing. No build issues here. Sound: I generally play through a GK Legacy 800 head and one 8-ohm Accugroove Tri112L cab. I have a 2nd cab (both the earlier models with 2 variable controls on the rear) but I’ve not needed the 2nd cab yet. Bass to amp is via a Broughton tuneable HP filter and a EBS Microbass III. The Funkmeister has a huge range of tone for a single pickup bass. Firstly, and most importantly it cuts right through the mix at very low volume settings on the amp. Passive is pure P bass and active just boosts/cuts the same in bass and treble land. The passive tone works in passive only. I tend to run with the bass control centred and the treble backed off a tiny amount. Either that or passive with the tone set to taste. Mike’s magic filter? I guess it’s a sort of Low Pass filter. It’s a whole lot more than just rolling off passive tone. It gives the bass a real old school tone without taking away any of its ability to cut through. It’s great. It gets used often. The bottom line? I couldn’t be happier. I’m enjoying playing more than ever and much of that is due to the bass. My MiM Jazz and custom Sandberg Jazz with JE Uni Pre are sadly under used. The full spec sheet: Body: Zoot Funkmiester 32" from swamp ash finished in "off white/light cream" hi-gloss Neck: 32" Canadian maple neck with Bi-flex two way truss rod with modern 'C' profile. Finger board: Ebony with M.O.P. dot inlays to side and a compounded 16" radius and medium heavy fret wire Pickup: Haussel P pickup in cream Bridge: Hipshot "Kickass" in chrome Machine heads: Hipshot "Ultralite" with Fender clover leaf buttons in chrome. D Tuner Hipshot. String retainer: Hipshot "Ultralight" quick change E.Q. Noll 2 EQ Active/passive with passive tone and filter with swich Battery details: Gotoh 18Vdc quick change battery box. Top nut size: 40mm with zero fret Bridge saddle spacing: 19mm Neck finish: Hi-gloss to back of headstock matching colour front with smooth satin to rear of neck (playing area) Body finish: Hi-gloss off white with ‘tort' and brilliant white 3 ply scratch plates. Hardware: All other hardware in chrome finish. Price, £1325

If I’m playing it, it would be in half cut time

Only if you’re dancing to it

no need, just listen to "A PHYSICAL PRESENCE" album and theres your answer

We tried it with the Wirebirds, but the harmonica player could only manage the first 20 seconds before raising the infernal instrument to his lips. To be fair, it took several weeks of rehearsal to get him that far.

Looks like a great project! Do what you need to make it work!

I see this is the Ames Trapezoid version of the tab. You can tell because it's the version that sails past people and goes right through them - seemingly impossible at the time, but logical once you get your head around it. I recommend cutting it out, attaching to very thin card, and then suspending on string so it can be rotated.

Love the board Si! I was interested to see that, as as a semi-pro / pro musician and one who has introduced me to the delights of Elrick basses, you don't feel the need for a dedicated pedal-board compressor? (Genuine Q, and not wanting to stir a hornet's nest!)

Great thing about this tune is it easy to transpose, you know incase the singer cant be silent in tune on the high notes.

Map of Tasmania ～ Amanda Palmer Beaten to the punch by Señor B but too drunk to fix things 🙇🏼‍♂️. Have a lovely weekend All!

Anyone looking for innovative ways to program a drum machine/drum tracks in a DAW should have a look at this video:

Not tab, just the score…. 😁

This just fits this scene perfectly!

I guess no-one notices, especially live.

There's a Myung one as well. Ashdown really need to up their demo vid game though - just about everyone else would have had vids by half a dozen youtubers ready for launch day.

First gig I ever saw was Steeleye Span… 1974 or thereabouts. Awesome stuff. Maddy Prior used to set off the the stage and go jigging up the aisles in a floaty white dress… very memorable stuff for young Trueno. The bass was always very memorable… at the time I saw them they had only just got a drummer… so the bass had previously driven everything. Their live performance of “Gaudete” was quite something. They always had really good support… Alan Stivell, breton harpist… and Gryphon, remember them? I think I’ve always been abit of a folkie at heart.

I struggled to hear this when i did my youtube search. Its quite a forgiving bassline at the start but it fades into the background the more you hear it. Have to say i was rather taken aback by the lacklustre ending. Its a style i've been trying to learn for many years and been so disappointed by my own results. Dave

Do you mean just different tunings like Open C major / Drop D / DADGAG etc etc or the weirdo idea that A = 432hz because "that is aligned with the universe and has healing power" nonsense? If the former - then swap instruments for that tune live. Or if the guitar is in Drop D or even Drop C then a 5 string has plenty of range for it. Just learn it properly and ignore the guitarists fingers! If the latter - then nobody can help you. Not even a psychiatrist.

I found the turnaround after the middle 8 particularly tricky. Definitely took more than one listen.

Well, 2 days in but I've been playing the Galli strings practically all of both days; I've been on an online death by power point course so have been sitting and playing while listening. As far as the stability of the strings are concerned... Day 1, lots of half tone tune ups. Day 2, after tuning up from leaving it over night, it's got progressively better throughout the day but still needs regular small tweeks, more on the G & D tho. I've been playing a lot with the pick and so far no sign of injury to the strings but it's only day 2... although they have had about 12 hrs playing time. Early days but love the strings, they feel so buttery and the tone is good, rolled off highs are how I like them, very little if any eq needed, sustain is not the greatest but not so that it's an issue.

What is this 4'33" you talk off. Never heard of it. Dave

The other lads must be disappointed? They probably... can't stand losing you?

Distance selling regs allow you to return it for a refund within 28 days of purchase. Besides you'll get a much better idea of whether it's going to suit you then 30 minutes playing in a music shop will.

I did just that & it arrived this morning. What an amazing bass