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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

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

Should've looked back, their best stuff came before that

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.

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')

No worries I'm glad you like it!

It's brilliant. Really great fun thing to do. I like the interactivity of it all. You guys have built a great place to be. Thank you

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.

Have to say i saw them years ago in early 80's i think it was at Heathery Bar in Wishaw and they were ok but having bought The Road of Bones album i was totally blown away. Everything about that album speaks quality from the songwriting to musicianship to the production. Has to be up there in my top 10 albums of all time. Dave

Deep Purple for me. It was between them and Iron Maiden but Deep Purple started me on my music obsessed path.

This has to be one of my favourites, the program itself too!!

Have to say, impressed with your attitude. If I had picked up a bargain, I'm not sure I could hand on heart say I would go to these lengths to check whether or not the item had been stolen or similar. Fortunately, I am an excessively unlucky bugger and I will never find such things at a car boot! Personally though mate, I would take the approach of keeping the bass as you bought it fair and square and, other than its value being higher than what you paid, you don't seem to have any real suspicion of foul play. If someone comes to you claiming it was taken from them or similar, let them offer their proof and make a decision privately, but ultimately I would just enjoy some good fortune at a great find

They are funny though...

Another excuse for unfettered consumerism. Why do Brits slavishly like to copy every fad that comes out of the US? Anyway, it's no secret that sales events are a scam whereby retailers hike up prices in preceding weeks and then 'slash' them back to their original levels, get rid of obsolete or unpopular lines and buy in shoddy toot specifically for them. After all, despite all the saccharine marketing cow poop about the customer being # 1 blah blah the question everyone should be asking is what's in it for the retailers?

Thanks Del!

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.

Many moons ago the band i was in played a Maiden medaly, I had to play the Trooper followed by Run To the Hills, it was always two fingers for the Trooper and three for Run to the Hills, or risk some serious RSI

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.

Yes you have it all correct. Post pics when you are finished. Nothing like walking into a pawn shop and finding a great guitar for $60. Yeah it needs finishing but that I can do nicely myself. I bought a Fender Strat for $65. It had been played and it was full of scratches etc. I had the materials here to refinish it. It was red. I hate bright red on anything. I used a heat gun to strip it. The poly finish comes right off in chunks with a little heat. Since it was going to be 3 color sunburst the wood needed to be sealed with clear. I put like 5 coats of clear on it and used the clear to level the body. I used 1200 as the last before coloring it. I put down the amber in the center with more coats of it around the edges to give it that orange cast. Then I shot black free hand around the edges. I put like 10-12 coats of clear over it all then buffed it out. I finished the neck with high shine gloss. The fret board was rosewood so I finished it with tung oil after using 1000 steel wool to polish the fret and clean the fret board. I changed out the electronics to better quality and added into it a push pull volume pot so it could have the bridge pickup and neck pickup togehter. I added a push pull pot on the tone control so the tone could use both the .22 microfarad or a .47 microfarad capacitors for changing the tone. I got rid of the two volume thing so the master volume handled the guitar. In the other control I put in a cut control so as you turn down the volume you can keep the bright side of the tone. When it was done a guy that plays in a local band wanted it so bad he was offering me $1000 for it because of it's custom everything. I let him have it for 800. I had roughly $250 in it with the parts and paints and original cost.

Absolutely. (Big Dylan fan here, btw.)

Ringo

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.

I know that many members think that Gibson can't build basses, and having in the past owned a '66 EB2 which played like a dog I might have agreed, but the EB described here as a "monstrosity " is very well built. Take a look at the top of the neck with its volute and the amazing Babiscz bridge. Who ever designed this put some thought into it. You may not like the body shape (which isn't so different from Fender's Dimension) but it works. The slightly extended upper rear bout tucks under the arm perfectly and I suspect contributes to the excellent balance countering possible neck dive as its so light. May be critics should try out an instrument before slagging it?

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.

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:

Welcome Funkfingers. I don't know you from anywhere else but I will always remember you for posting the scariest topic title that I have ever seen!

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.

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.

That is a blinder of a bass, and not doing anything to help my Mustang/Musicmaster GAS either. Knowing where you got it from, I would say there is very very little chance in it not being original. That is a very cool refin, and you have a very unique bass there. Enjoy!!

Had a festival this summer. Quick turnaround time to get on. Had all my stuff ready to go.. Plugged everything in - no sound. Nada. Nothing. 5 mins panicking and then... ..realised I'd plugged into a different amp that wasn't even mine. Oh, you didn't mean that sort of disaster tho huh?

Unfortunately it has long changed hands and stopped hosting music. It's still a nice gastropub in leafy West London, though. Yours truly was behind the camera, marveling at the speed of Jack's disaster recovery action! @Al Krow I'm reasonably sure the wireless system wasn't a Smoothhound - that one came later, Jack was using a different one at the time, IIRC