skej21

The celebration of mediocrity has steadily grown from X Factor and other talent shows. Families and friends back a 'talented' singer or act who is actually just average (at best). To get around this, they find other distractions such as huge productions, autotune, hype, sobs stories and life achievements (inspiring music teacher or heroic nurse etc) that overshadows their average performance. We then happily celebrate the mediocrity of the music based on these separate (but by no means lesser!) non-musical achievements. The problem now is that being a good songwriting now falls into that category. People will happily buy into an act who can't really do the song justice from a performance point of view, just because they have written it. The guy on Britains Got Talent at the moment (Ed something or other?) is a great example. Written quite a few hits for current pop acts and clearly made a decent living from it (his home interview showed his flashy studio gear and instruments) but he's made it all the way through because the song he has written is good but he can't really sing it very well and he's playing on the 'I don't want to be behind the scenes getting no credit' sob story. There are countless examples I can think of: Pharrell, Emilie Sande, Chris Martin. The list goes on. Combined with the successes of songwriters who actually CAN do their material justice (Bruno Mars etc) when performing, it has created an environment in which every person who has ever put a pen to paper now thinks they should collect the composing and performing money and not compromise by allowing a better performer to contribute their talent and take some of the money. But does cutting out the middle man actually hinder the success of the music? I don't think 'Forget You' would've been as huge a hit if Bruno Mars had performed it...

It takes me more time to carry my gear from the van to the stage than it does to 'find my tone'... I also do my load in with just one trip. If you have to search for a sound, you've got he wrong gear IMO. Should be able to just plug in, make a few small adjustments and PLAY!

[quote name='karlfer' timestamp='1401245776' post='2461624'] Skej, what sort of lead time did Mark quote you please? [/quote] I sent off my bass to him just under a week ago for the part-ex. He said he is away in holiday for a week or so then he's going to get on it when he gets back but told me he'd aim for the end of June. Time will tell how long it actually takes (and I'm in no rush!) but he is very efficient with communications and details for the build so I fully expect him to keep his word and deliver as agreed. Everything I've heard from him so far would indicate he's a top bloke to deal with! Although, if we keep bombarding him with work, the times quoted may start to get longer lol.

Yup. We have two rates (which to be fair, don't differ a huge amount!). Pub gigs, we play a certain set that the venue is aware of and have hired us knowing what we play. The punters get what we've planned and we often play requests on the fly (we're not a juke box and don't know every song ever!) so requests are often 'busker' from an iPad at short notice rather than rehearsed. With a wedding, we rehearse and play what we are asked to play. We take requests for first dance and arrange a set list prior to the day with the happy couple. This means they get what they want to hear and we rehearse these new pieces thoroughly. Also, it's not a pub gig so the pressure is on for us to be 100% sure that nothing goes wrong (that'll little bit extra money has been used on more than one occasion to cover a last minute dep's cost of one of us has fallen ill before the gig or to hire transport if the van wouldn't start!). That extra work and extra pressure/precautionary checks etc add a bit more to the booking fee, DJ hire or having to wait around whilst they use our PA (because it's cheaper than a DJ!) to play their iPod.

Just but a really nice Dunlop Microfibre cloth. With a bit of breath and a few wipes you get a lovely clean surface without using any polish :-)

[quote name='Musicman20' timestamp='1401222227' post='2461483'] If I had an Italian LM3 I would be keeping it now...and adding the TH500 as well [/quote] And that is the green light I needed!

[quote name='karlfer' timestamp='1401197598' post='2461009'] Oh God, Mark has a Burgundy Mist J and Fiesta Red P, both reliced, on his site at the moment. Really struggling to avoid the J [/quote] I was just looking at that Jazz. It's absolutely incredible! I'm quite glad my money is tied up in a precision from him already. On the plus side, the more basses I see from him, the more I'm looking forward to mine being finished! Quick link for anyone who is interested - http://www.classicandcoolguitars.co.uk/basses/limelight00130jbass.htm

[quote name='JazzBassfreak' timestamp='1401219762' post='2461444'] I'm planning on sticking at it, but I imagine it's going to be a hard trip to even learn the basics! [/quote] If you're going to stick with it you should commission a Bongo Banjo Bass!!

You planning on being the next Oteil Burbridge? http://youtu.be/_BQV5rgC354

[quote name='Musicman20' timestamp='1401207897' post='2461210'] Nope, unfortunately not in this case. The TH will push harder at 8 and 4 ohms, and uses a power module used in 800 watt amps but without straining it. I wouldn't worry about the stated wattage so much. My RH450 was louder/pushed harder than my LM3 at 8 ohms and we all know about the TC amp ratings! The TH is a USA built amp that is so far proving to be pretty much bombproof in terms of reliability. [/quote] To be fair, my LMIII is from before the Indonesian days but I really like it and it's more than loud enough. However, the TH500 is calling as it'll match my Aggie cabs!

[quote name='discreet' timestamp='1401194293' post='2460970'] One man's national treasure is another man's Rolf Harris... [/quote] Too soon man... too soon!

[quote name='Musicman20' timestamp='1401193176' post='2460955'] The LM3 will not push as much wattage as the TH500. The TH500 really will hammer out a lot of power (very honestly rated) and is quite mid orientated, with plenty of lows, but not lots of treble sheen. The LM3 will sound more modern but will hit its limiter quite a lot earlier. It is more of a 'flat' tone with a nice warmth around the edges. As the LM3 is now made in Indonesia but no cheaper, I would opt for a GK or the last of the GB Shuttle 9.2's if you want clean and modern. If you want warm vintage grunt and heft, the TH500. The Carvin amps are also quite nice! [/quote] So is the TH500 250w rating @ 8ohms louder than the LMIII 300w rating @ 8ohms?

For me it'd be the LMIII. Higher output at 8ohms than the TH500, rack-mountable which means it gets flightcase for better protection when gigging abroad, has the VLE function which I really like and I don't feel aggrieved that I had to pay for a 'drive' function that I'd never use. Also, since switching to a European distributor, the prices seem to have shot up. I do run my signal through a Tonehammer pedal prior to my amp though so it's probably not a fair representation of the true tone of the LMIII.

[quote name='Mudpup' timestamp='1401049935' post='2459590'] I am confused Is it crap or not? [/quote] You tell us, it's your opinion!

Take the whole lot but only connect the one cab as usual... Until the guitarist touches his amp and then boom! Plug the rest in and destroy him!!

[quote name='molan' timestamp='1401012956' post='2459009'] Reason for asking who was playing was because I really, really disliked this and didn't want to offend anyone here Nathan East's original part sits perfectly in the song and is one of my favourite disco/pop bass lines in recent years. The vid version above is, to my ears, just horribly overplayed and doesn't work at all. I can understand the reason for playing like this and appreciate the technique but this is exactly the sort of playing that would not get the job if played at an audition. Or maybe I'm just getting old [/quote] I'm kinda with you on this. IMO the slap was a little out of place and the 'groove' that the other guys think is great I can't seem to hear. The actual groove from Nate's original part seem to have been lost and the playing in this video is just a little bit clinical and overplayed and loses the groove as a result (IMO). No doubt that the playing is technically good but it just doesn't feel right. It doesn't make me want to groove along like the original and that's the whole function of Nate's playing in the original.

The 60th anniversary commemorative Stratocaster is really nice. Should hold its value well and the special design 1954 pickups are fantastic!! http://www.fender.com/series/american-standard/60th-anniversary-commemorative-stratocaster-maple-fingerboard-2-color-sunburst/

[quote name='ukulelelab' timestamp='1400877552' post='2457907'] My '66 LPB [/quote] Holy. Crap. That is stunning!!

[quote name='discreet' timestamp='1400853367' post='2457579'] Good - we need to rein in the puns as they stirrup too many emotions. Let's keep it all nice and stable. [/quote] In Before The Fetlock...

[quote name='discreet' timestamp='1400852997' post='2457570'] Can we keep to the mane topic, please? [/quote] Sorry, I'll stop horsing about...

[quote name='Muzz' timestamp='1400852808' post='2457567'] Your horse'll never manage two SVTs with 8x10s... [/quote] Ooooo you neigh-sayer!

I have never broken a string in 17 years. I was gigging 4/5 times a week for nearly 3 years straight sat one point and only ever took one bass to the gig (including gigs abroad and travelling by plane and van etc). I did always have a small multitool, spare strings ready to go if needed and always had money in the bank in case the luggage carriers destroyed something and I'd just buy/hire a replacement. Never had an amp, lead, string, cab, strap or anything go wrong at a gig.

[quote name='cheddatom' timestamp='1400838671' post='2457371'] I find that most interfaces these days seem to come with built in pre-amps. I don't really need pre-amps. What I do need is as many inputs as possible, minimum 16, with the possibility to expand further. I have a Tascam US1800 at the moment and you can't have more than one plugged in at the same time, which is sh*te. Can you recommend me an interface under £500 to fit the bill? I would prefer to buy second hand if it can save me money [/quote] This is a nice little interface. The preamps as you've said aren't really needed but you get 20 in/20 out and the converters are very good... The nice preamps are just a bonus :-) http://www.production-room.com/product-details/Focusrite-Saffire-PRO-40

[quote name='Kev' timestamp='1400528739' post='2454731'] I'll never understand why people make such a big deal about this bridge and feel the need to fit them as an 'upgrade'. Don't see the appeal and I certainly didn't fall in love with it when I had one on a Fender I used to own. Just a bridge, isn't it? [/quote] I agree. I bought both the Geddy and the Nate Mendel because of the neck profile. The bridge made no difference and to be honest, I'd be happy if neither of them had it. It is the kind of thing that some people believe will make a huge difference so no doubt I'll be able to switch mine out one day and get rid when they get a reputation way beyond how good they are.

[quote name='dannybuoy' timestamp='1400526924' post='2454705'] Well, this is a first. Would it be a fashion faux pas to play this bass wearing jeans? http://www.bassdirect.co.uk/bass_guitar_specialists/Sandberg_VM4_Jeans_finish.html [Img]http://www.bassdirect.co.uk/bass_guitar_specialists/Sandberg_VM4_Jeans_finish_files/Jeantop590.jpg" class="ipsImage" /> [/quote] Double denim is a definite faux pas.