velvetkevorkian

I would get yourself along to the Violin Shop in Glasgow and see what they have in stock- they have a good selection and you can try before you buy. They do the full range as well so you can see how the cheaper bows compare to the more expensive ones.

You can always turn it down...

Am I being thick? I can't find you at all- found your personal page but not your music. Help!

Hi all, I have three fretted basses in varying degrees of requiring a fret dress- one is pretty much unplayable with any kind of decent action. Is it feasible to do this yourself with minimal tooling, or is it best left to a professional? My local guitar shops are quoting £70-£100 to have this kind of work done. If its possible, what would I need? Any references to assist? I'm relatively comfortable with adjusting the bridge and truss rod but that's not enough for this one. Cheers Kyle

Well I bought the Digitech new locally, mainly as an impulse buy- decided to put my money where my mouth is for once and support my local independent shop. Will report back after I've played with it some.

[quote name='XB26354' post='396465' date='Jan 31 2009, 09:32 PM']If you are notating something expressly written where all strings are detuned then the piece should be written as if strings were in standard tuning. E.g. if you detune the strings to Eb/Ab/Db/Gb and the first note is open Eb it makes more sense to write the music in E as it what you will feel and see. Writing at pitch means you have to relearn the whole fretboard just for that piece (e.g. C is now B, F is now E). If you are transposing a tune from one key to another it obviously makes sense to write at pitch.[/quote] What he said, although there is a certain amount of flexibility depending on the nature of the piece.

[quote name='phil_the_bassist' post='394741' date='Jan 29 2009, 05:21 PM']i logged in today to ask if anyone had the sheet score for Pachelbels Canon in D, and I've found it in approx 3mins since logging on....all thanks to you! I'll getcha a drink next time you're in Newbury! [/quote] Mine's a Czech lager! Cheers!

'kin hell man that's awesome. Maybe time for a Glasgow bassbash soon?

The Simandl Method books (Vols 1 and 2) are pretty much the standard for DB methods- classically oriented but you can certainly play through the exercises pizz as well.

Hey all, rediscovered this recently- I mentioned it briefly in the classical music thread in off topic but its a great resource. [url="http://imslp.org/wiki/Main_Page"]IMSLP.org[/url] Any composer who has editions now in the public domain can be included, so if you fancy transcribing some Bach, listening to Beethoven's 9th with the score or doing a multitracked bass version of the Symphonie Fantastique this might come in handy. They're all PDF files I think and totally legal. Read on!

[quote name='Earbrass' post='391795' date='Jan 26 2009, 02:24 PM']Peavey Milestone III [url="http://www.hartnollguitars.co.uk/products.asp?id=748"]http://www.hartnollguitars.co.uk/products.asp?id=748[/url] For a while I had one of these and a Fender Aerodyne Jazz bass - decided there was nothing to choose between them in sound - except the Peavey was quieter for recording - and actually preferred the feel of the Peavey, so sold the Fender.[/quote] +1 My first bass and the only 4 string I think I'll ever need.

I have [url="http://www.amazon.co.uk/Two-Hand-Tapping-Workouts-Electric-Qwikguide/dp/0786658819/ref=sr_1_1?ie=UTF8&s=books&qid=1232889455&sr=8-1"]this book[/url] which is rather good for less than the price of a couple of pints. I also have a couple of basic piano transcriptions I can post if there's any desire for them.

The DL-8 is down to £105 delivered brand new...

Jim, have you tried sending Daflewis a personal message? click on his username then click "send message", he might not be checking this thread.

Is that 5 stars or something untypeable?

[quote name='bilbo230763' post='389003' date='Jan 22 2009, 08:41 PM']In an effort to earn the 2009 'most popular forum member' Oscar.... Most people don't need reading or theory because most music that is played in most venues by most people is actually very basic/simple/repetetive/undemanding (I know; I have played it throughout my career). People can get by because there is nothing to test them. They can use their ears because there is not that much in the way of real harmonic movement that will test these skills to any real exent. The audience reaction rewards this mediocrity; the more sophisticated the music, the more the punters struggle. Not their fault but its a fact. The benefits of reading are obvious; it comes in two types, reading and sight reading. Whilst I can do both, my sight reading is undermined by a lack of real opportunities to do so (it is a muscle that is wasting). But being able to read and write charts allows you to cover all sorts of bases that you might struggle with otherwise. You can communicate ideas reallly easily and interpret those of others with less need for repetitious run throughs and without the logistics problems of endless rehearsals. You can learn more quickly. You can play in more situations without having to 'learn' sets. Its a skill that can open doors if you want it to. Theory is invaluable if you want to move beyond trained monkey status. Doing it is one thing. Knowing what you are doing is another. My theoretical knowledge, despite being better than most, is not what it should be and I am trying hard to address this but, without it, I couldn't play half the gigs I do. I love the sounds of music and want to know what makes things work. Its not just about bass. I want to challange the pianists, saxophone players and guitarists I play with. I want to arrange big bands charts and string quartets; not because they are lucrative but because they are there. Without theory, I would be doing jigsaws without the lid. With theory, I have more potential to create. But that's just me. I am always suspicious of people that advocate ignorance. It jut doesn't compute.[/quote] +approximately 9 million. The main thing I'm working on right now is my reading, so I'd say its quite important to me.

[quote name='Toasted' post='387196' date='Jan 21 2009, 09:52 AM']What about the Jamman? There's ALOT more features there.[/quote] Mainly because I don't need a lot of the features it has. All I want is to be able to record myself and layer tracks on top of it- if I want to record it I'll use my PC. It's also bigger and more expensive. I don't need it for delays because I have a VF1 which does all I need there. The only thing I would really like (that I don't think can be found without spending a lot more money) would be multiple independent loops, but I don't care about being able to save and export them etc. Is that reasonable?

Bump back from page 4- the DL-8 is currently £99 plus £6 shipping from Absolute Music- anyone tried it? Is the Akai Headrush better? Currently leaning towards the Digitech for its smaller size and slightly lower price- any other suggestions?

Its an E string extension- a lot of orchestral players use them to hit notes below E (a necessity in some classical pieces) without having to use a 5 string. Some have mechanical keys which stop each note while some are basically just an extra length of fingerboard with a latch at the nut. They normally go down to a low C. hurrah for posting the same thing at the same time!

I thought most country bands got up in arms if you use anything more exotic than root and fifth? That's a dead easy scale...

[quote name='velvetkevorkian' post='383536' date='Jan 17 2009, 08:15 PM']1. Bass-specific power amps seem to be well pricey - is this a necessity for a decent tone? Not necessarily. It really depends on the tone you want- I use a Boss VF1 effects unit as a preamp with the effects bypassed, and other people use things like the Avalon U5 (I think) or microphone preamps which is not instrument specific.[/quote] Sorry, I misread the "power amp" here as "preamp". As Mr Hunt said, bass specific power amps aren't necessary.

Because some people (or me, anyway!) don't go looking for specific things in the classifieds, and don't want to have to go through countless sub forums to see one or two new items.

[quote name='deaver' post='383525' date='Jan 17 2009, 07:56 PM']Numpty advice time again Im afraid. I'd like to put together a preamp/poweramp/cab rig but I'm struggling to find coherent advice regarding the power amp/preamp combination. I think I've got the cab concept sorted in my head, however... 1. Bass-specific power amps seem to be well pricey - is this a necessity for a decent tone? 2. How well matched (if at all) do the amps have to be? 3. Can anyone point me towards a good web resource? 4. Can anyone show me any working examples - something that would be feasible at a second hand price of £200-300 All advice/recommendations welcome[/quote] 1. Bass-specific power amps seem to be well pricey - is this a necessity for a decent tone? Not necessarily. It really depends on the tone you want- I use a Boss VF1 effects unit as a preamp with the effects bypassed, and other people use things like the Avalon U5 (I think) or microphone preamps which is not instrument specific. 2. How well matched (if at all) do the amps have to be? If you mean the pre and power amps, not really IMO. All a power amp should do is make your signal louder. 3. Can anyone point me towards a good web resource? Try doing a search here on the amps forum of Talkbass maybe? 4. Can anyone show me any working examples - something that would be feasible at a second hand price of £200-300 Boss Vf1 + BK electronics power amp module +cheap 1x15"= total cost slightly over what you're looking for, but you can probably get a 2nd hand Ebay power amp within budget, especially if you can handle a bit more size and weight.