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Showing content with the highest reputation on 31/10/18 in all areas

  1. Just my tuppence worth... Don't forget to do an impressive slap solo at some point.. before, during & after the song. Bands love that. Talk about the gear you've brought ..in detail. Not forgetting to mention all the gear you've owned over the years. Bands love that. Name drop (even if it's the most tenuous of links). Bands love that. Ask the guitarist(s) why they're not playing a strat/paul/sg (delete as appropriate). Guitarists love that. Helpfully mention the singer's a bit "pitchy". They love that. Tell the band leader (on the quiet obviously, you're not insensitive) that you've got a drummer mate who you've played with for years, and he/she is easier to "lock in with". You're smashing it at this point, they'll love you. You're welcome. Sent from my bedroom. Don't forget to come & see slappys' one man band.... 🤠
    7 points
  2. For sale, Limelight P bass! Selling this due to buying an SVT for recording, sad to see it go but needs must. Reason for the price is simply the previous owner has told me the bridge saddles may be seized, I have not checked as the setup is fine as is. I contacted the man himself regarding this, this was the response. the parts of the bridge do unfortunately have a tendency to seize up but fairly easy to rectify: if you get a good screwdriver on the intonation screws (the long ones) they usually undo ok - i'll be surprised if they don't - and take off the saddle. if you do one at a time you can make a mental note (or take a picture) of its position which will save you having to re-do the intonation. when it's off, you need to hold it in a gas flame (blow torch is best if you have one, or failing that your gas hob) and heat it up. when really hot plunge it into a jar of cold water and then try to move the height adjustment screws. try back and for first. usually they loosen up easily, if they don't then repeat the process. this will definitely work - i've never been unable to free of the screws like this, especially since your bass is pretty new. Other than this the bass is spot on. Sounds great and has been a huge part of the last set recordings Ive done. I have a box to ship if needs be but more than happy for anyone to come and try, I'll make sure there is an amp here and some coffe! Any questions feel free to ask Joe
    6 points
  3. The penny has just dropped (thanks to Google) that I used to work with Bruce Woolley's nephew. He used to tell me about his uncle who was a songwriter, and had some amazing stories - mostly from the Grace Jones years. the best one was being woken up by Ms Jones in the wee small hours, demanding that she should have his hotel room because she'd set fire to hers and couldn't sleep in it any more
    5 points
  4. Breaking my golden rule of *if someone uses the word 'snowflake' in any conversation they are probably talking out of their behind*, surely these 'snowflakes' you a referring to are more likely to be boycotting Chinese and Indian steel (and the US, also one of the big polluters, but probably too expensive to matter) as ethics would matter. It would be the opposites of snowflakes, which I don't know what that is, I guess gammons if we are reducing everything down to childlike terms that will be buying the stuff that is the cheapest and less ethical? And I would say that the reason for getting rid of pollution in a city is not just to make the world a better place (and personally I am not sure that the 40th biggest city removing pollution is actually a bad thing) but to make that city a better place?
    4 points
  5. My main bass for the past 2 years. Super instrument. Based in Dublin but I'll ship it I guess. Comes with Gator hard case. €1100. Body: Mahogany Top: Cocobolo 6 Times screwed maple neck Fretboard: Rosewood 22 Frets Front Face dots Scale: Long scale Pickups: 2 Sandberg Powerhumbuckers Sandberg 3-band electronics Active/passive switch Colour: Natural
    3 points
  6. How bizarre - I just listened to them both and reached exactly the opposite conclusion! On the Woolley version, that guitar sound and the signature lick he plays at the end of each phrase are totally late 70s ... that sound and that lick were everywhere in the music of the time, and to me that version sounds really dated. On t'other hand, the Buggles version was uber-modern in 1979 partly because there was no guitar at all, and it still sounds strong today.
    3 points
  7. SNOOZE ALERT! If you don't like long winded posts, just pass this one by. Never lose sleep from anxiety over an audition, unless it's with Sir Paul McCartney... I think I've had a night terror like that... He said to leave the stage in front of 10,000 screaming people who suddenly went quiet as I trundled off... Then, realising that I had forgot my bass, I had to go back out again to get it... You could hear a pin drop... and then he took over the bass and everyone went wild. If you don't get picked, then you're both not on the same page or they have someone better in mind - and you're lucky to find out sooner than later. Besides, if you show up as a nervous wreck, you'll never pass muster anyway. Look at it as a jam session, except you know the song. If you're unsure with the song then you are not technically ready for that band or you hate the song on some level. This is a great time to mention the Tascam CD-BT2 Bass Trainer (play-along CD player). It makes you sound like you're the BP in the mix. I'm sure there are even greater things sold as computer software, but it's the greatest prep for auditions (or rehearsals). Everyone's on the same page before rehearsal. An old friend of mine, a drummer and a Limey, would show up at an audition and just before they started, he would say to them, "OK, boys... Show me what you got!" Now, that's the right stuff for an auditionee. You ARE auditioning that band every bit as much as they are auditioning you. You can phone them back later, just like they phone you, and tell them "Thanks, but no thanks!". Did you exchange pertinent information before all that packing and driving? Did you tell them that you were a BP? On Bass guitar or double bass? Four or five string? Fretted or Fretless? Pizzicato or plectrum? That you have YOUR OWN transporation or not? Do they? That you FULLY OWN excellent gear? Speaker size 8x10 or 1x10? 40W or 300W? Combo or Piggyback? What about their equipment quality? Yours and their locations? Discuss travel time/mileage? Rehearsal studio rental costs? That you are seeking an established or a start-up band? Covers or Originals or both? Improvisation required or not allowed? Dance Band, Pub Band, Function Band, Jam Band, Bar Band? Local gigs? Touring? Charity gigs? Just for fun? Yours and their repertoire list, musical interests and goals? Age range/limits, if any? Gender stipulations? Musical styles/genres? Are they looking for Rocco Prestia or John McVie? Or Carol Kaye? Sixties Soul, Disco, Jazz, Blues R&B, Ballads, Boogaloo, Funk, Gospel Texas, New Orleans or Chicago styles Jump Blues, 50's R&R, Doo-Wop Classic Rock, British Invasion, New Wave, Punk Beatles to AC/DC... Traditional Country, New Country, Country Rock, Southern Rock, Rockabilly, Cajun Reggae, Ska, Rock Steady, Calypso, Soca and Steel Pan Big Band Era, Popular vocal music, Ballroom music, Swing, Dixieland Waltzes, Polkas, Latin dance rhythms Some possible discussion points: Set-list (sequence, title, artist, band singer's key), Line-up (current and desired), Rehearsals (schedule, location, cost), Performance intentions (frequency, audience, venues, area, local/touring), Age range, if any. Experience has shown me that, for my own self-preservation and peace of mind, I need to avoid certain situations, and you should, too. Find out this stuff. Multiple-project band-hoppers Bands that can't seem to hold-on to a bass player Bands that keep their old bass player lurking about Bands desperate for a temp bass player that lead you into believing that you're permanent Bands with debts, covert overhead costs or requiring signatures Manipulative personalities, phonies, weasels, sneaks, liars and cons Bands that change out members for friends when they gain some success Unequal distribution of compensation Weaseling-in of friends/family into the band Weaseling-in of friends/family into position to run band operations, so that they can actually run it Bass line micro-managers, critics and advisors Musicians who bought a bass as a second instrument and now think that they are a bass player, too Self-appointed band-leaders with minute talent, no draw, no studio, no gigs and no charts Self-induced virtuosos or anyone that would refer to themselves as a "pro" without laughing Songwriters trolling for employees, or even worse, volunteers Originals and other anti-dance music. Also, petty re-arranging of hit songs, so the band leader can justify position Band-room potheads or intoxicated zombies. Maybe both. Band-room smoochers, relatives, cults and Fraternites Politicos Bands cashing in on tributes to the recently departed... We should make a useful checklist for ourselves and not say yea! until all items have been investigated. I'd be very interested to garner info from other BP's on Bass Chat...
    3 points
  8. This is the new 2018 mix of While My Guitar Gently weeps. I must say, Eric Claptons lead guitar overdub sounds much more clearer. While for the first time in many years, Maccas double stops on the bass (6string?) finally are audible. Opinions from Beatles fans?
    2 points
  9. To my eyes the Bugera bears more of a similarity to one of these than the Streamliner.
    2 points
  10. Not sure I've seen a BBOT bridge in such agony before.
    2 points
  11. I've played this song a couple of times at an annual private garden party with Bruce Woolley on the vocals..... always fun Having just listened to his original version I must say I much prefer it too!
    2 points
  12. If you intend to continue as you are...i.e. playing in a pub rock trio, then IMO you won't have much use for modes. I suggest that instead, you concentrate on CHORD TONES. These are what most bassists play 90% of the time...not modes. 😉 The link below is an excellent site for learning some basic theory. Go to the study guide and start where you think is appropriate for you. In the link, the site emphases the importance of chord tones. https://www.studybass.com/lessons/bass-chord-patterns/chord-tones-are-primary/
    2 points
  13. How about this very simple solution: 1. ban everything that isn’t electric: lorries, cars, cabs and public transport etc 2. introduce rent control 3. ban empty foreign owned ‘investment’ homes 4. carry on cycling 5. introduce flexible work hours 5 simple steps - would fix most of London’s issues in under 5 years. Will it happen? Will it fük..
    2 points
  14. For me it's the best bass they have buildt. It's miles ahead from the current TRB100xJ and TRBX. Eben the BB's aren't at par with this, it was top of the line before being descontinued. Why Yamaha did it without bringing in the TRBIII i'll never understand. Got it here for a steal price of £900 about 10 years ago. He's the reason i joined BC in the first place and never left. It's been my #1 bass since, it's the ONE, it has "my tone" completely flat and straight to a flat mixer if needed, the balance knob and right hand position give me all the tones i can possibly dream of. It will NEVER EVER EVER leave my hands, will be passed on to my offspring with joy when i retire from playing. Mine has the Ovangkol top, i've tried the Maple and Bubinga ones (the bubinga belonged to Nick Fyffe and belongs to a friend now), i found the Maple too trebly and the Bubing too dark, may have been the strings but i found this one is more balanced to my playing style. More pics, next to the ex-fyffe's:
    2 points
  15. Well, next time you can point me to the next great deal for a used BBNE2. Al needs to rest for a while... Now for some gratuitous pics: The NE would fit nicely in the collection
    2 points
  16. No need to apologise, Pea. 😛
    2 points
  17. I loved living in London - moved up when I was a teenager, and still work here, commuting in from Surrey. As well as my job, 99% of my social life is here, the band I'm rehearsing with in here, I love the place. But traffic and pollution is a nightmare, and adding these charges is a blunt but apparently effective instrument, as we can see from the debate. Nobody who will have to pay the fee is at all pleased about it - which is exactly the point!
    2 points
  18. Most people over here prefer a live band at their wedding if they can afford it. Typically bar bands will make anything from £200 to £500 and then moving into larger venues or clubs you are up to the £1k upwards and as you get more noticed on the circuit you can slowly increase your rates. We have been offered £1k for our first gig even tho the venue has only heard a few rehearsal recordings taken on a phone plus they know the singer from his other band. With regards your checklist i recognise most of the things you mention on it and my current band all sat down at first meet in a coffee shop to discuss basically what you had on your list. Mainly everyone's idea or expectation of what they wanted from this band (Glam Rock covers band) other commitments with their other bands all booked a year in advance and everyone accepted the band was more a side project to fit in around other commitments. We discussed the set and songs possible with only gtr, bass, drms and Vox. We did discuss possibility of a 2nd guitarist or kys but would wait until we had a few rehearsals under the belt to see how we sounded. Eventually we had the opportunity of a kys player with similar attitude that singer new from other bands. We each took a list of songs we thought would work as a 4 piece and the main point was that we all got along on a more social level hence the coffee shop meet. It al went really well altho the other commitments has meant slow progress on the rehearsal front. The guys that play in other bands have now realised that this band could potentially make some good money as well as having lots of fun and are now leaning towards this band being their priority band. We have been offered good money for our first gig which will be a in the New Year due to delays in rehearsals but we all knew that from the first meet that it would be an issue. Altho you post is long i did read all of it and it makes a lot of sense. As you say we really should make up a checklist for any audition. Dave
    2 points
  19. He did it to me as well!! @CameronJis actually pretty evil or on some sort of commission 😂 I ended up with this 'cos of him: And he actually literally frogmarched me to the store to buy this one: 😂
    2 points
  20. Normally neither do I I thought a quick tweak wouldn’t matter and would be quite fine. Mind you, I tried that with Mrs B and got a slap for that too
    2 points
  21. There isn't a bass on earth worth buying over 1500 quid. I really believe that. Music, soul, love, groove, is created by the fingers and the heart of the player. It's ace to have a lovely quality bass (or any instrument), something well made, that feels great, looks great and sounds great. But to me, you can achieve nirvana on an Ibanez, a Mexican P bass, Yamaha.... or a used Stingray, Lakland.... whatever, etc etc.... I just can't believe that in the hands of 90 percent of us, anything more than that is required. The chosen few, I guess, can afford a Fodera or similar... but honestly... why? Especially when Vinny can't come up with a better headstock.... There's WAY too much emphasis on expensive gear. Amps included. Treat yourself to a Peavey TNT 1x15 off eBay and kick some donkey..... Anyway... I expect I'll get shot down for that. Back to headstocks....
    2 points
  22. I’m personally of the opinion that we're too reliant on cars. What London is doing is ultimately good, Birmingham are introducing charging in the near future too. I’d rather not breath air that’s polluted by car and lorry exhaust fumes. If you play in a band and absolutely need to drive to a gig to carry your equipment then car share, organise amongst yourselves so you’re travelling in the minimum number of vehicles. I’m no doubt going to get a lot of dislikes for this, but we simply can’t carry on as we are, gridlocked roads and pollution, it’s unsustainable.
    2 points
  23. 2 points
  24. Well that was a complete waste of invective.
    2 points
  25. Doesn't work when you're playing in pubs and have to carry the PA, the lights, etc. as well as your own rig.
    2 points
  26. I would imagine more and smaller ports maintain the integrity, the rigidity, of the panel.
    2 points
  27. As long as there are people who think they can hear the difference between battery brands the boutique pedal market will remain safe.
    2 points
  28. That's correct. A single 12cm diameter round port is usually sufficient for a 15 inch driver. Split into four 6cm ports you might get some chuffing. The added area of four 10cm ports prevents it.
    1 point
  29. but this doesn't mean that we shouldn't do anything, just because somebody else is worse than us. Things would change if we cut our emissions to zero, just not as much as if everybody else was doing their bit too. If we don't do anything then it makes it far easier for the much worse polluters to reject any proposals to clean up their act as they can just point at us and repeat your "well you're not doing anything so why should we?" argument. Change has to start somewhere, and if it means that people in London can breathe easier, I don't see a down side
    1 point
  30. I read this from the Original Post ... '...My love of the instrument however, leads me, at regular intervals, down the path to improving my knowledge of the scales / modes and the theory connecting them to the relative chords...' Seems fine to me to have a look at any and all things that interest the fellow, no..? Not saying that chord tones etc are not important, nor worthy of study, but there's a whole world just over the horizon, just waiting for the curious. None of it is a waste of time, if one's motivated and keen. Just my view on things, of course.
    1 point
  31. 1 point
  32. Yes... Great stuff. I've just read through the whole posting and would definitely be up to try making a pair of the Mk II's. Thanks so much for all the ground-work you guys have done!
    1 point
  33. If I can just interject here, all this is being done to cut down on congestion (via charging/penalising) and/or trying to get the city air we breathe cleaner (also via charging). First, let's look at some numbers; the metropolitan area of London is around 1,600 km² (and for the benefit of perspective, the surface of the earth is, more or less, 510million km², of which landmass makes up 149million km²), so percentage-wise London is around 0.01% of the total landmass of the planet. Back in 2015, London was only ranked 40th biggest city in the world by metropolitan landmass and 32nd by population. In the scheme of things, London is pretty small compared to Jakarta or Karachi or a handful of places you've never heard of (Tianjin? Chengdu?). Moving forward, and yes, I do appreciate what London is trying to do to decrease congestion and to get the air cleaner, but in the scheme of things London's efforts are a metaphorical p*ss in the ocean. Sorry if that hurts. We are too small and insignificant to keep crusading for what we believe is right when the likes of India, Pakistan and China spew countless tonnes of pollutants into the atmosphere every day. You can also throw in Bangladesh and Iran in as well. Taking money off people via a stealthy taxation based on it being for the good of the world, will not clear the air; the only correlation is that it will just make people think twice about jumping in the car and drivers are an easy target to squeeze money out of and at the end of the day the money London takes just goes into the corporeal pot. It's just greed. We seem to have taken the greed model, bettered it and made it our own. It doesn't matter which political party you are, it's all about the £££s. Can I think of anything better? Yes, but it'll upset the snowflakes. Boycott Chinese and Indian steel for starters, boycott products made in these countries until such a time as they effectively clean up their act, because out little bit of effort will make no difference whatsoever. Thinking small (London) is frankly pointless. The problem isn't here, it's 6,000 miles away.
    1 point
  34. It's just great when that happens, I know, with any gear! I think you'd find that you would cut through much less well "in the mix" if you were using headphones particularly with Sabbath material. Ok, I've finished with my woman now and I'll get my coat...
    1 point
  35. So while bumping the thread I just want to say that I do have already some takers for the Tokai, but now I think I will really regret letting it go, so P bass has priority for now, might even listen to the nearest offers on it, but my ride is already with the mechanic and will be ready to collect in a few days and then I’ll be forced to let the Tokai go.
    1 point
  36. 1 point
  37. It doesn't really work that way round. The pedals are the same as if you have effects pedals, so you have an effect per pedal. So if you have effect A and effect B on, you can't switch effect C on to cancel the other two, you would need to switch A and B off. So make the clean sound you want, and then turn the other effects on when you don't want them
    1 point
  38. Think body chemistry has something to do with this...my mate ruins strings with his sweat and doesn’t like the feel of elixir or exp coated strings. Jason Newsted used to have Roger Sadowsky make his basses sweat proof.
    1 point
  39. Nah thanks. I've had my share of 100lb amps. My back loves my 4lb Shuttle and so do I
    1 point
  40. Actually, his hair looks nice in a bun.
    1 point
  41. Nah, he doesn’t want the attention
    1 point
  42. I’m still interested in making a pair.
    1 point
  43. When did we start posting private correspondence in the Status column? Oh well, here goes... Derek. I don't need the adult diapers now until Friday. Thanks.
    1 point
  44. You really don't need a wedge. A thin strip of material will do the job across the neck pocket at the heel end. There is of course a huge thread on TalkBass about the merits or otherwise of leaving a (God forbid) GAP under the pocket end of the neck, but in my experience it really makes no difference to tone or sustain. Assuming you had any tone or sustain in the first place. Need a more extreme angle? Stick another bit of playing card in there. It works. There are those who claim to be able to tell if a neck is shimmed, what it's shimmed with and if there's a (gasp) GAP under the heel end, but I put those people in a box along with those new-age types who claim to be able to tell the difference between different types (and prices) of mains cables by the SOUND, can tell how much an effects pedal battery is DRAINED (sounds different!) or can tell how OLD pickups are by the perceived level of MAGNESTISM they have - or don't have. It's all a great big steaming pile of DUNG.
    1 point
  45. And that's $10 for one; I assumed it would be for a pack! Each to their own, but I'll stick to bits of card, thanks.
    1 point
  46. There really were some lovely basses at the Bash this year. He Mouse was stupidly good, as everyone has said but the one that most smacked my gob and made me fall a little bit in love (OK a big bit) was one of @cetera‘s Spectors. This finish to be precise. NB no photoshop involved, just a very slight change in camera angle... get a load of this if you missed it...
    1 point
  47. 1 point
  48. A few notes: Sealed enclosures have better transient response Transient response is a primarily a factor in the higher frequencies, where the cabinet alignment has no effect. A very poorly designed ported enclosure can have poor transient response in the mid bass, but being very poorly designed it will have other problems as well. A well designed ported enclosure will not have any transient response issues. This is one reason why they sound punchier and more accurate. In blind testing with the systems EQ'd for identical response listeners are unable to identify ported versus sealed cabs. There is no difference in accuracy so long as the speakers are not played at a high enough level for there to be high level harmonic distortion. 'Punch', by and large is the term applied to the sound of a speaker being pushed past its linear excursion limits, resulting in high level harmonic distortion. High THD isn't more accurate, it's less accurate, and it's far easier to realize with a sealed cab than ported. It's also neither inherently good nor bad where amplified instruments are concerned, being a matter of taste. If you have a ported cab and want to get it to sound like sealed that's easy enough, turn the bass EQ down. If you have a sealed cab and want it to sound like ported turn the bass EQ up. The ported cab with lower bass EQ still won't have the THD of sealed, and the sealed cab with bass EQ boosted still won't have the low end output capability of ported, but that's why you can still buy both types. There are some disadvantages to ported enclosures. Transient response is poor compared to a sealed enclosure. The result is decreased accuracy. If ported enclosures had less accuracy than sealed then the vast majority of high end speakers, as in over $10K each, would be sealed. They're not. For that matter the vast majority of speakers are ported, irrespective of the price range. A poorly designed ported enclosure can cause all sorts of problems. That's true, but since the advent of speaker modeling software back in the 1990s there's no excuse for a ported enclosure to be poorly designed, other than the designers lack of knowledge. There is one instance where by and large a sealed enclosure is preferable to ported, that being a mid bass speaker specifically intended for use with a subwoofer. When a speaker isn't going to be used below 80 to 100Hz in most cases sealed will work just as well as ported, so there's no good reason to incur the added design complexity, cost and physical size of a ported enclosure.
    1 point
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