Fat Rich

[quote name='Chris2112' post='1211292' date='Apr 25 2011, 10:51 PM']Now, this is what is known as a 'frisk'... I present to you one of the most stunning looking basses Status have made in ages. Now, the big shame here is that this is how Status basses should be made. Rob would sell thousands of these things if this was how he made them. Proper paddle through neck, old skool looks, old skool vibe. If he was knocking these out as a standard item I'd place an order for a new one right now. But I'm not about to pay over the odds for 'special editions'. I've been thinking of buying a Wal bass if I can't find a Status Kingbass, or ordering a fretless ACG - so we are talking about basses of serious quality here. I'd love if it Status would make their S2 basses like this again but as it stands I don't really love the new S2 basses like I love other Status items.[/quote] I'm convinced the difference in sound between the "classic" Status sound of the 80s and the current Status sound is to do with the newer basses having a truss rod whereas the older ones were completely rigid and I feel they're brighter and more aggressive (and also more clattery to my ears). The 30th Anniversary as shown at the London Bass Show had a standard modern neck- thru (with a truss rod) set into a graphite tone block (where the modern S2 Classic has a walnut block as standard) and I suspect probably sounds more like a modern Status than an 80s one.... although this may have been a prototype and the neck construction may change for the (limited) production run. We've had this discussion before Chris, I still prefer the more modern Status sound to the "classic" Status sound but although I don't often use my "classic" sounding Statii I'd never get rid of them. (Edit: What's with all the brackets in my post? )

[quote name='Golchen' post='1210972' date='Apr 25 2011, 04:03 PM']Yeah, you're probably right actually. I wasn't so keen on the weight of the status, I wonder if they make any that are lighter?[/quote] My S2s weigh in between 7 and 11lbs if that's any help, not exactly lightweight (they are 5 stringers though).

Watching Hugh Laurie doing his New Orleans act on Jools reminded me of this: [url="http://www.youtube.com/watch?v=zwgS1ctxglw"]http://www.youtube.com/watch?v=zwgS1ctxglw[/url] Might be OK for the One Show but LWJH? I'm another who fast forwards and sometimes through the whole show, but sometimes there's something well worth watching. It could probably do with some better acts but it's still probably one of the best music shows on telly at the moment.

Nothing sounds (or plays) quite like a Status S2 in my opinion, I guess you'd better start saving! Status do make replacement pickups and EQs but I think the graphite neck is a very important part of the sound. If you modify the Reggie you might lose it's character and still not get what you want from it.

It's jazz, you're supposed to improvise

[quote name='stingrayPete1977' post='1202676' date='Apr 17 2011, 03:40 PM']Just me left in here now then is it?[/quote] That's my experience of reading, make great progress initially, keep plugging away at it, something in life comes along and demands my attention for a couple of weeks, have another quick go at the reading but find I'm going to have to spend a fair bit of time to get back to where I was, and never quite get round to it.

I've been learning guitar this past 2 weeks, one of the fun things you can do is take a basic chord shape like an E or an A (holding down 3 strings, 2 or 3 open strings), and shift it up the neck a couple of frets.... you end up with some really interesting chords as the open strings stay the same but the fretted notes change. Sounds great but I've no idea what chord I'm playing (yet!). I think a lot of guitarists are pattern players and only know the root note, but it seems some don't even know that.

[quote name='stingrayPete1977' post='1199788' date='Apr 14 2011, 07:17 PM']That's a lovely looking Ray Fat Rich [/quote] Thanks! It plays as lovely as it looks now.

[quote name='mep' post='1197280' date='Apr 12 2011, 08:33 PM']Check this posting by Funkgod [url="http://basschat.co.uk/index.php?showtopic=78473&st=20&p=758098&#entry758098"]http://basschat.co.uk/index.php?showtopic=...mp;#entry758098[/url] Also boost your low mids. The next thing you know you'll be cutting through that mix like you wouldn't believe it![/quote] OK, so I whipped the strings off, undid the 3 screws, didn't lose the 4 springs under the pickup, carefully lifted the pickup cover off, and carefully tried pushing the A and D polepieces down with my fingers. They didn't move so I carefully laid the pickup in the routed hole in the body and pressed a polepiece with my thumb and in it went until it met the wood, thus finding the same level as the E and G polepieces. I repeated the process for the other 3, except I put a pick between my thumb and the polepiece so it wouldn't hurt so much, (me being a delicate 20 stone flower ). While the pickup was out I put some 2mm rubber strips between the pickup cover and the pickups to bring it up to the same level as the top of the polepieces, springs back in, screwed the pickup back down and strings back on. Took about 10 minutes to do. [b]And it's completely fixed the problem[/b], great string to string balance through both my amps and also into the board through headphones as well. So, a massive thank you to Funkgod and mep for the info, I owe you guys several beers! Edit: Forgot to mention I put the action of the G string back up and dropped the A and the D to where they should be, I previously had them set up to help compensate for the problem.

[quote name='dan670844' post='1198567' date='Apr 13 2011, 07:13 PM']i wasnt being funny, I had the same problem with that head at a gig with a jazz bass the old channel is nice but its has too much low end just cut it a bit[/quote] Fair enough, maybe it's the bass [b]and[/b] the amp!

[quote name='Rich' post='1198205' date='Apr 13 2011, 02:27 PM']Everybody knows that long runs of cable suck the life out of your tone. The longer the signal chain, the less life in the sound, the duller it is. I have studied these theories in great depth over the last few years, examining closely the entire theoretical signal length of each individual note from the very start (the way in which the string is struck or plucked) to the very end (the way in which the note is processed by the ears of the listener). I can now tell you that my studies have proved beyond a doubt that the shorter this entire chain can be made, the more pure the tone. Using my revolutionary Audiological Research Sensory Extension (ARSE) method (pat.pending), all extraneous unwanted effects can be eliminated for the purest possible tone. Normally my ARSE is only available via a teaching pack retailing at a very reasonable $599.99 -- however, in what I consider to be an act of incalculable generosity, I am willing to share the wondrous secrets of my ARSE with you, my BC buddies, entirely [b][i]free of charge[/i][/b]. Just so long as you keep it to yourselves! To witness the marvels of the ARSE, simply do the following: [list=1] [*]Take your finger, or plectrum, or thumb (depending on whether you're a fingerstyle, pick or slap player); [*]Ram it in your ear. [/list]Hey presto. The distance between the very beginning and very end of the total signal length of each note is now reduced to as near zero as is possible. Perfect sonic nirvana is yours! Enjoy.[/quote] This sounds suspiciously like my E.L.B.O.W. system. You will be hearing from my solicitors Crunn, Bannister & Bloodnok shortly.

[quote name='dan670844' post='1197431' date='Apr 12 2011, 10:10 PM']It not your bass its the eq of the amp!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!![/quote] I've a load of basses here but only have this problem with the 'Ray..... it's the bass not the eq of the amp! If I play anywhere on the G string it lacks any kind of oomph, play the same note on the D string and it sounds great. (Edit: but adjusting the EQ on the amp might help to ease the problem)

[quote name='wateroftyne' post='1196305' date='Apr 11 2011, 10:19 PM'][url="http://www.google.com/search?sourceid=chrome&ie=UTF-8&q=stingray+quiet+g+string#sclient=psy&hl=en&source=hp&q=site:talkbass.com+stingray+quiet+g+string&aq=f&aqi=&aql=&oq=&pbx=1&bav=on.2,or.r_gc.r_pw.&fp=384aef4afa8e1652"]Isn't this a bit of a Stingray 'thing'..?[/url][/quote] Mine (a 4 string, 3EQ) has a quiet G, the D isn't too bad. Flattening the EQ on the amp and bass is the place to start. I've also raised the action of the E, A and D strings a fair bit, lowered the G and also played around with the pickup height to try and even out the string balance. It's sort of good enough that within a few minutes of playing I'm subconsciously adjusting and compensating for the problem. But it's still annoying and not really good enough on a £1K bass.

[quote name='Gust0o' post='1195944' date='Apr 11 2011, 04:51 PM']The good new is that we record everything, warts and all, over multiple takes. I think that's the best bit of discipline that we have. Is it pretty much the case that I can play anything with supports the chord changes/rythmn? Sorry if that's an amateurish question, but I guess that's where my level of knowledge currently is - if he's banging away in E then I can work my way around the chord, try the chromatics, etc, and provided I don't clash with the chord change or rythmn I should be on solid ground? Sorry, working this out in my head.[/quote] Octaves and fifths will work with anything... thirds, sixths and sevenths you'll need to know whether they're major or minor (or be ready move 'em up or down a semitone really quickly and look like you meant it to sound that way!) Chromatics are great for leading to the next chord, you can go up to the root, or sometimes down to the root for some variety. You can play some really bum notes as long as you don't put them on the 1, 2, 3 or 4 too often.... on the upbeats (and of 1, and of 2, etc) you can get away with all sorts. I also like to try finding common notes that work over a whole section of the song and see if I can come with something based loosely around them. Sometimes that will lead you to playing something that isn't based around the root of the chord although the guitarist might think you're changing his song too much. Ultimately, if it sounds good you can do what you want. I sometimes play along with recordings and experiment by playing all the notes I would have thought were wrong... they usually are wrong but sometimes I hear something that sends me in a different direction. Playing only chord tones (third, fifth, seventh) will sound dull pretty quickly, the best riffs and basslines have some notes that are "wrong" to add some tension and release. Hope that makes some sense!

You could just get another guitarist.... but this a great opportunity for you to have some fun with your basslines. Less is usually more but during the solos you can go for it a bit more. To start off I just pretty much follow the changes but move around with some fifths, octaves, and fifths below the root, maybe some sixths too. Add some chromatic approaches and pentatonic / blues scale fills and that's a start. Then I try mixing up the rhythm a bit and seeing what I can get away with. Occasionally I'll come up with something new and interesting that complements or improves the song on the spot (usually influenced by whatever I'm listening to that week!), but mostly inspiration strikes when I listen back to the track. So record some rehearsals and listen to them as often as possible, you'll probably come up with something that way. Good luck!

I had the exact same problem with some D'addario half wound Extra long, except with mine it was the B and the E that were shorter. I was able to get away with it as the nut is just high enough. Is it a problem with StringsDirect or have D'addario sent them some mixed up sets? I think mine were a 5 string set all in one packet but I can't be sure.

[quote name='munkonthehill' post='1192563' date='Apr 8 2011, 08:29 AM']..................... Since getting the Ric I have been only been using that at home and rehearsals. Its a great bass and I am more than happy with it however I picked up my jag last night for the first time in a few weeks and fell in love with how it plays all over again. ................[/quote] You'll pick up the Ric in a couple of weeks and fall in love with how it plays all over again. Then in a few more weeks it'll be the Jag etc. I go through the same thing with my Jazz and my Status every couple of weeks. I think you may have found your perfect [i]basses[/i].

This one's got some attitude too: [url="http://www.youtube.com/watch?v=IWFKio5NBV8"]http://www.youtube.com/watch?v=IWFKio5NBV8[/url] He gives everything a slight Flea / Chillis vibe but he's got a great groove he can get away with all sorts of overplaying!

I've just started learning guitar this past couple of weeks, I'd had a couple of quick goes in the past but the neck was always too crowded and the thin strings made my fingers hurt. But I've stuck at it this time and I'm starting to feel at home on the guitar, can bang out a couple of songs and I'm working through some online lessons and really enjoying it. Alarmingly, when I pick up a slim necked bass it now feels really huge and chunky But I reckon I'll always be a bassist first and foremost.

Here's a link: [url="http://www.youtube.com/watch?v=6AiGu1cHf_o"]http://www.youtube.com/watch?v=6AiGu1cHf_o[/url]

[quote name='Doddy' post='1186624' date='Apr 3 2011, 11:54 AM']Depending on the guys that your playing with,you may not be able to fake it-or you may be able to once or twice,but that's it. If you feel like you don't belong in a situation you won't cut it,and if you do you have to prove it. ....[/quote] I've never managed to get away with it but I didn't want to put people off

One of the most important parts of playing an instrument is playing live, you've obviously been doing that for years with no problems so don't give up. I'd say make a start with some ear training first.... something really simple or you'll get frustrated. Don't worry too much if you don't get a perfect transcription at the first attempt, you'll probably be away from your bass one day with the tune going through your head and you'll suddenly know where you've got it wrong and get some ideas to fix it. The more you do it, the easier it'll become. You can work on your ear training too to speed up the process. Make a start on some music theory.... first learn the note names all over your bass if you don't know them already. And I mean really learn them so you don't have to think about it at all. Learning theory is very difficult if you're fumbling around finding notes or can't immediately tell what it is you're playing, you'll end up relying on patterns and shapes again. Most of the top players say that to really improve you have play music with people far more talented and musical advanced than you're current level. This involves being a faker and seeing if you can get away with it Basically, if we're challenging ourselves musically then we should be faking it. The trick is to progress to faking it at higher and higher levels, because there's always going to be someone who knows more about music that we can be learning from.

Does this mean the story about the Ark Royal having 11 large cables stretched along the runway tuned low F# to high E isn't true either?

I've seen some junk by Expertvillage but these clips take the biscuit. That hip hop drumming one is hilarious!

I find that Fat Man Fold Over protects my bass from buckle rash.