garethfriend

this is pretty high on my list: http://www.youtube.com/watch?v=WVE90vGS9ps

I tried and decided against buying one. Couldn't put my finger on why exactly, the sound was great, it was comfortable to play, didn't look bad in the flesh I guess, right price, just didn't click for me. Then I've played plenty of expensive and well crafted basses that haven't inspired me so it doesn't say anything about them in particular.

All music is authentic just some of it's a bag of sh*te. Authentically sh*te mind you.

back in my metal days I had a BC Rich pointy-ass guitar, was appropriate for the genre and looked awesome on stage. Now being ten years older and a bassist I don't think even if I went back to metal I'd have anything pointy, probably buy the turquoise LTD 5-string I played the other week in fact. I'm actually really picky about basses I think, I've come to think you can look at what bass a player is using and for some types of bass know exactly whether the thing they are about to play is going to interest you. 6+ strings, headless, singlecut or exotic tone woods for example, never seen one played in anything other than a showy-off, harmonic riddled manner, usually all on the top strings and up the wrong end of the fretboard for most of it. Nothing wrong with that, just doesn't interest me or work in most band situations. Think the only fretless I would consider is a P-bass. Can't stand the way warwicks hang on me but love the sound. Don't like the looks of the violin bass very much either. Bongo - no. anything with more than one neck - just leave. Why would you even think that's funny? what is the matter with you?

Current rig: TCE RH450 - not used in full band situation yet so can't comment Barefaced vintage - so long as I can manage the size and don't need smaller cabs it's definitely a keeper. SBMM SB14 with nordstrand mm4.3 - love the sound want it in different colour, so would only change for really shallow reasons. in fact if anyone has the SBMM ray34 classic in this colour and wants to swap for a blue SB14 drop me a PM: http://www.theperfectbass.com/dynaweb/1001081/Images/1001081stl_ray34catsb_sr22926_lg.jpg

doesn't everyone do this? Sit and play the easy bits with a pretty motionless hand (resting) and get your 1 finger per fret shred on for the twiddly bits. No sense holding the the more stressing fingering for the whole set, that just wouldn't be efficient.

thing I have been doubting my abilities on recently is remembering songs, not the actual notes and structure but the names. I look down at the set list and see the name of the song we are supposed to play next and draw a blank, "is that the one that starts on E?" "we have a song called ...?" If I'm looking a bit blank the guitarist usually just strums the first chord subtly before we get going and I know what I'm doing. Really should work on that.

interesting mentioning the pressure at the nut, with some strings I get some buzzing that goes away if I put pressure behind the nut. I'm not getting that now and putting pressure behind the nut does nothing. No idea what that is but could be related. I reckon looking at it the nut is cut a bit wide for the strings on my bass though.

I'm running 50 to 105 fender nickel rounds, they are reasonably new too but the old ones (same but lighter gauge) did it too.

I get exactly the same thing, I have a SBMM SB14 with Nordstrand MM4.3. When playing through headphones on an TCE RH450 I noticed it sounding a little like a fretless with that "mwah" sound at the start of the note. Not a trace of it through the cab at practice so I ignore it. Have also heard it playing through an audio interface and out through studio monitors. Weirdly when I recorded the DI from my old amp (orange terror) no trace of it. I've come to the conclusion its something going off in the high mids which are not an important part of my sound. I was going to get round to fiddling with the setup and seeing if it has an effect but havent done so yet.

I have two outlets for my energy - mountain biking and music. By doing the bikes I learned a few things about managing fear which apply to music and life in general. For me it's all about the point of no return: I used to (rationally so) be scared of hitting jumps and drops on the bike and would tense up coming up to them and did have a few last minute bottle-outs where it was in fact too late to stop safely and got hurt. but that changes your perception - before I was afraid of the landing now it was a concern over leaving it too late to wuss out. I did a race in the french alps a few years back on a track I had no prior knowledge of and during practice found that my brakes were too underpowered to go cautiously and check everything out that was coming at me so the result was basically a switch flipping in my brain - "your going to be well past your point of no return long before you realise that crest is actually a gap jump, hit everything flat out to be sure!". So I did, and I was fine, and I really enjoyed it. What I have gotten from doing daft stuff like that over the years though is an ability to flip that switch almost at will, when I hit that the point of no return every doubt, every anxiety, every bit of tension just goes. It's baggage that on a bike can land you in hospital and in music results in a bad performance (for me). In music for me the point of no return is the soundcheck, I'll be nervous about it before that because unlike on the bike I'll usually know about it at least the day before. As soon as I've set up and soundchecked that's it, I'd look like a right ninny pulling out now so I guess I'm playing this gig - and the switch flips. Answer in short form: pre-gig nerves yes, actual stagefright (on stage) not a bit I know this doesn't help most people as a technique because without the danger element there to force you to learn to manage fear you would be basically just doing what the self help books and things tell you anyway.

[quote name='janmaat' timestamp='1330261705' post='1554740'] [media]http://youtu.be/7mU2lJKkQ04[/media] [/quote] Love it!

went really well, one of the most enjoyable gigs I've ever done actually. Did a folky version of "eye of the tiger" which went down really well with the audience. It happened to land on the weekend we got snow so it wasn't as rammed as it was due to be but a good atmosphere none the less. Going to be doing another one some point soon for all the people who wanted to come but couldn't. The singer/songwriter is Harris Macfarlane if anyone's interested: [url="https://www.facebook.com/harrismacfarlane?sk=app_178091127385"]https://www.facebook...pp_178091127385[/url] Should point out that isn't me playing on the recordings and the recordings are quite different to the live act, definitely folk it up more live. Think I'm a convert though, there's something about banjos and not taking things too seriously that is a refreshing change from rock.

Our singer also does rhythm guitar, he can play guitar but isn't really interested in guitars, amps, EQ or anything technical. As a result he pretty much lets the rest of the band set everything up for him as so he can be heard and doesn't get in anyone else's frequencies. Shame more guitarists who don't know about this stuff don't have the maturity to to put their hands up and say "I don't really know what I'm doing can you guys help".

bought a compressor pedal off me, fast payment and good to deal with, spot on transaction.