skej21

That's all I needed. Thanks Shes after a trebly tone as she plays punk and wants that bright, scratchy attack/tone... 500k pots it is

Just fitting some new pickups in a student's precision. She's upgrading from the stock pups to Fender Original precision pups but wants to have 500k CTS pots. I don't know much about pots other than my Precision pups are 250k as are the stock ones on her bass at the moment. Will it be okay/worth it to upgrade to 500k pots? Any help (or links to related topics) will be greatly appreciated. Also an explanation that I can use to talk her out of it if it's not worth it would be helpful too! Thanks in advance

[quote name='JakeBrownBass' timestamp='1339141068' post='1684151'] it's simply a random chord that sounded good and makes no theoretical sense. [/quote] Unsure that you are correct here. I've never analysed a piece and found chord choices that cannot be explained theoretically... Most of the time, these 'random' chords (as you describe them) are the result of a slight alteration to the key centre, known as a 'transient modulation'. This usually occurs as a side step into a related key momentarily (a good example of this would be a tritone substitution) or switching the diatonic chord through a small scale alteration. For example, having a G7 chord (the diatonic dominant chord in C major) but changing that to G7b13 (the fifth diatonic chord of C melodic minor), you have created a transient modulation from C major to C melodic minor. That's not just a 'random' chord because it sounded good. It is usually followed by implied harmony in the melody that needs the b13 to act as a passing chromaticism to the next chord/melodic phrase. I would be interested to see what you mean by 'random' chords though. Ps, Nicolas Slonimskys book 'Thesaurus of Scales and Melodic Patterns' is a great book if you want to really understand the theory behind almost every possible element of melody and harmony

[quote name='gub' timestamp='1339147341' post='1684253'] Well after much deliberation and having to let our 2nd guitarist go we are now down to a 4piece , guitar ,bass, vocal and drums . We rehearsed last night and so far it's not sounding bad ,we may struggle with some songs and may have to drop some and replace with others which lend themselves to one guitar , Any tips from you guys would be great on getting a full sound , so far our guitarist has put more reverb on for solos and uses his les paul insted of his tele on some songs as seems to cut through better , and I have turned up a bit , and used my active ibanez which seems to sit well . [/quote] Best advice is to adapt your tunes to what you have. You're never going to sound like a five piece with four people, so don't waste your time trying. You'll just end up trying to fill the space with effects and sounds that muddy everything up.

Typical case of 'run before you can walk' musicality... Singer trying to be fancy without having the technique to back it up (therefore fails with her timing and intonation) and same can be said of most of the players. Bassist has obviously only just (half) learnt a single basic slap technique and has tried to implement it in a song that doesn't need it, to the detriment of the ensemble, the original groove, his own timing and any form of taste. I bet he also calls himself a 'semi-professional' or 'professional' musician because he gets paid. Muppet.

[quote name='wateroftyne' timestamp='1338708671' post='1678160'] By the way, here's the one I used to have: [/quote] It's amazing how much better that finish looks when the neck has block inlays... I hate the look of the new ones, but I'd be all over that like a tramp on chips!

++++AWESOME++++ marketing by Ashdown...

[quote name='wateroftyne' timestamp='1338237291' post='1671459'] It's such a fine line between jazz and shred... [/quote] A thin, white, powdery line...

[quote name='Lozz196' timestamp='1337580675' post='1662134'] It is undefeatable, as I think we all wonder "now if I was to put x with y, how that would sound". I`m very happy with my set-up - Precision, into GK MB Fusion/Schroeder. But, when I heard OBBMs Musicman (dunno which model it was) into GK MB Fusion/Schroeder, I did wonder how that would work with my band, as it sounded great. And that to me is the cursed GAS. [/quote] + 1 to this with the addition of the dreaded newsletter that always follows NAMM, informing us that something awesome has just come out! To be honest, this again is more of a 'I wonder' kinda GAS than 'must have it now!', but it's still there, niggling away!

I have a CIJ Non-export '62 RI Jazz and it's outstanding. I can honestly say (after lots of testing) that I would have been happy to pay Custom Shop money for mine, it's that good in isolation and compared to high-end Fender models. I did, however, spend a long time hunting it down and bought from a respected source, but I have no doubt it'll be a great instrument and if you don't get on with it, there will be a queue of people ready to snap it up on here!

[quote name='Musicman20' timestamp='1337459759' post='1660519'] Exactly! Thanks. This isn't a Fender vs Musicman topic. [/quote] It almost is, based on your generalisation of all fenders being worse than a single bongo you tried. 'm just saying that a potential recommendation by another basschatter (yourself) was really encouraging me to try a bongo, until you just dissed ALL fenders in comparison, without reason or justification. I then thought, 'total bias.' Would have been nice to read an objective view of the bass instead, so I can make a decision when making my next purchase, that's all.

[quote name='Musicman20' timestamp='1337456444' post='1660466'] I have two USA Fenders and rate then very highly. Compared to a Musicman? No contest, the Musicman looks, feels and sounds very very high quality. [/quote] In your humble opinion.

Great review until I read 'this makes a Fender feel like a toy'... Too vague to even class as an opinion. Also, you were playing a Bongo... The bass that looks MOST like the bass guitar accessory for a Barbie doll.

[quote name='Count Bassy' timestamp='1337212121' post='1657340'] Best way I've found in these situations, (in a practice at least), is to stop the song and just say "we're slowing down", without pointing the finger at anyone in particular. [/quote] I would tend to agree except in this situation you've already pointed the finger privately and he might feel like you're trying to air the issue publicly in order to force him to deal with it... Try and patch stuff up first and then sort it out with him.

But nobody has asked the important question... What does a roadworn look like after 20 years of playing/gigging/road wear?!

Multi-coloured Index tabs. Simple.

[quote name='Stacker' timestamp='1336763273' post='1650831'] It just don't get why Fender called it the '62, for by that time the VVT circuit was well in use by then. They have also done away with the bridge grounding strap and, for all I know as I've never been under the hood of the newer ones, the resistors and pup/control cavity grounding plates.And for the coin they charge, they should shove all that back in [i]plus[/i] the clay dots! [/quote] Unless you get a CIJ '62 RI like mine, and it has the bridge grounding strip and the VVT circuit, like a '62 would have had and without the price tag. Cannot beat the Japanese Fenders for price, quality and (it would appear) historical authenticity!

[quote name='EdwardHimself' timestamp='1336739516' post='1650246'] The bass player in my band insists he has no interest in playing the guitar, and yet every practice he is trying to play a guitar line on the bass. [/quote] Maybe he's playing them as a hint because HE feels you're not playing the parts properly? Doesn't mean he's right, but he could be thinking it! I've seen a fiddle player do a similar thing with a guitarist, which sparked an argument about how the part was meant to be played. The fiddle player was correct, despite hours of arguing from the guitard who was promptly fired.

I have to say, from a construction point of view, I would disagree that an E string on a 5/6 string isnt as good as on a 4 string. However, personally, I do find that I use the E string differently when playing a 5/6 string than a 4. I feel I can dig in and be more aggressive with a 4 string and tend to be more 'technical'on a 5/6 string due to the setting I tend to use it in (mainly reading gigs). If this is what Mr Turner was getting at, then I would agree.

Also, I think people are a lot more aware of style these days. Personally, I wouldn't put stickers etc on my bass, not because it would reduce resale value, or be side it would be damage to the bass, but because it looks crap (IMO). I would happily alter my instrument (irreversibly) such as screwing pickup covers onto the body etc if I felt it would make the bass look cooler (to me). Maybe the majority of bassists think the same. It would also explain the popularity of faux damage (such as relicing a new bass).

[quote name='BottomE' timestamp='1336644822' post='1648762'] I like my gear and will always look after it as best i can. It earns me decent money and i spend decent money on it so i want to look after it. [/quote] +1 to this. I look after my gear because it's a tool for making money and I invested decent money in my gear with this in mind. I don't screw the t!ts off my car everyday on the way to work, because I know it will die quicker and cause me bigger hassle in the long run, but I'm aware that it will require some level of upkeep due to wear and tear. Same goes with my gear. Simple really.

Agree with all of the above. You also have to be very lucky to find a project that pays well enough to allow you to support a family. I recently got asked to audition for a signed band that are relatively big (been on jools etc) as I know the singer, and before I even went to the audition he said 'we make enough so that you won't have to pay for anything whilst we're out on tour, but you probably won't take more than £40 a gig away with you'... I've had this with nearly all of the signed artists and 'names' that I've played/auditioned for. Whilst that would be fine if it was just me (and was a great way to get some experience and save pocket money when I was a student) that's no good if you're trying to support others. I've also had a few band mates who have come back home after touring to find the other half has packed up and left (and on one case taken the kids with) too. Gigging and touring is a crazy world to get into and you need to be careful, but if it works it's the most rewarding thing you can do IMO.

Must admit, I was sceptical when I heard about these in February, but having seen the stock image on the website, they look like they will fit right in and compete nicely with the other basses around that price point. Having owned one of the first Aspirations and moved it on, I'd be quite keen to give an Inspiration a try, when stock samples exist.

For anyone who is interested, they've finally been announced by Overwater. Look pretty good and a nice step on from the Aspiration range!