markstuk

Had this guy tried various types of wee to see if human stuff was best? :-) Dog? Cat, Cow ? Horse? :-) PS wee drinking is quite common in India - plus classic references in Black Adder and League of Gentlemen (Micturate, micturate!!) [url="http://www.youtube.com/watch?v=yzNWYK_5Mu4"]http://www.youtube.com/watch?v=yzNWYK_5Mu4[/url] [quote name='SteveO' post='990931' date='Oct 17 2010, 10:42 AM']Back in the days when I first picked up a bass I tried all sorts - super glue, vinegar, and yes even piss, to strengthen the finger tips. None seemed to work and I was forever getting blisters and blood on the fretboard. The trick that worked for me was playing lots. That gave me nice hard tips and I haven't had any problems for the last umpteen years. As an added bonus my hands don't smell like a tramps. [/quote]

+1 [quote name='EssentialTension' post='990915' date='Oct 17 2010, 10:19 AM']+1 - and, whoever wrote them, play good songs.[/quote]

Of course you'd need to correct for barometric pressure and humidity as well... :-) Runs and hides.... [quote name='Alien' post='431424' date='Mar 11 2009, 01:44 PM']The wavelengths of the audible frequency range from 17.2m at 20 Hz up to 17.2mm at 20 kHz. If you feel the need to know the wavelength of any given frequency, then divide 344 (the speed of sound in m/s) by the frequency to get the wavelength in metres. Andy[/quote]

+100 Although I suspect the police won't be putting it at the top of their list.. Solicitors letter followed by small claims court.. Or ask the solicitor to collect the debt - I believe they can recover their costs from the defendant... [quote name='bassbloke' post='989399' date='Oct 15 2010, 04:24 PM']It's a criminal offence to write a cheque knowing that it will bounce. The fact he has written you a cheque is proof of intent to pay. If it were me, I'd send them a letter via recorded delivery asking for the outstanding balance plus bank charges for processing a bounced cheque or you'll initiate county court proceedings. He's an idiot. If he was serious about ripping you off he should have just paid you half and said he'd give you the rest of the cash next week. Of course, chances are he's financially screwed anyway and yours will be one of numerous debtors letters landing on his doormat. Next time you drive past the pub it'll probably be boarded up.[/quote]

I've always thought it important that you should learn the piano first before diving into the world of keyboards.. For me the importance of touch cannot be overstated - even though keyboards without "proper" actions can be faster under some circumstances.. It also gets quite personal in terms of feel - I like the Yamaha GH3/4 actions (I own two Yamaha GH equipped keyboards - the CLP270 actions is better than the Motifs) - other folk like the high end Roland stuff (and others, although more rarely, the Korg, Nord and Kurzweil (Fatah)) actions.. Of course nothing beats a real grand piano - Steinway has the main name recognition, although again (personal) taste I prefer Bechsteins and then Bluthners to Steinways, certainly for actions.. I do get frustrated when people ask me for advice for "keyboards" - and I strongly suggest a good (not someones old knackered upright) overstrung upright or something like a clavinova and then they go and buy a casio or yamaha noise maker from Argos with the worlds nastiest action.. The kid then makes some noises, finds he can't adapt to the teachers piano, then gives up.. Usually... [quote name='JTUK' post='990230' date='Oct 16 2010, 02:19 PM']I always prefer piano players instead of keyboard players on gigs but piano players seem to be prone to being more guilty of flooding the space you want. It should really just take a little bit of time/organisation to get the parts right but this is another thing that defines a player for me. It mostly comes down to how much time you can set aside in rehearsal and if you don't have the time, then you'll hear it at some point with some players, IME[/quote]

I'm not taking it personally, just suggesting that it's important to focus on the bigger picture... I could start on about how I have to defend playing the bass once people know I play keyboards... Its a bit like guitarists who think playing the bass is easy because... (fill in all the reasons we've all heard here) Playing in the same register does not automatically make something muscial or unmusical... I think we actually agree on this.. Playing unmusically is the real crime.. Cheers Mark [quote name='jakesbass' post='990162' date='Oct 16 2010, 01:21 PM']I meant the thread was suggesting the 'getting in the way' thing, and I have not suggested any of the other things you said, neither do I moan about being asked to play specific parts (after all it is my living) read my posts again and have look at the link i posted. I have a roundly positive attitude towards the vast majority of my colleagues, but have encountered the problem mentioned here. Don't take it so personally Mark.[/quote]

And what leads you to think I'm suggesting keyboard players should "get in the way" or clash harmonically with the other instruments in the band? If you're playing from a written arrangement then that's what ALL of you play.. If it's looser then you improvise in a musical way.. Again keyboard players have no monopoly on unmusicality.. But if we play with our left hands we're treading on the bass and play with our right hands we're treading on the guitars :-) bit of a no-win.. Of course we can be the special effects division triggering loops and so on... :-) Look how you lot moan on here when you get told off for going above the 8th fret... It's all the same deal.. You either leave the space (John Cage 4.33 anyone?) play the same thing as someone or play something different. In the end it has to add to the overall picture rather than get in the way... As bass players we don't have a special critical position - but then again no-one else does either... And in terms of "Also occurs to me that you don't refer to my notion of left hand and two handed voicings that don't contain roots...? Is this something that you are familiar with? I mean this in the friendliest possible way because if you aren't then there is a world of wonderfulness out there for you smile.gif " - Yes I do.. :-) Being formally trained in composition and classical piano/singing you do get to pick up a few things - and I studied with Howard Riley on Jazz Piano as well :-) Good enough? Mark [quote name='jakesbass' post='990143' date='Oct 16 2010, 01:02 PM']I think it just depends on the extent to which the music is organised, if the players are improvising and embellishing without arrangement then it really is important for harmonic clashing to be avoided on the hoof. I play with lots of guys who are capable of this (most good jazz pianists are adept at it) what is being pointed out here is that there are keys players that get in the way. I'm talking about how to eradicate this. If the piano player in an orchestra started busking bass notes into his part because it was 'instinctive' he'd be sacked. Also occurs to me that you don't refer to my notion of left hand and two handed voicings that don't contain roots...? Is this something that you are familiar with? I mean this in the friendliest possible way because if you don't then there is a world of wonderfulness out there for you [/quote]

Then we'll agree to disagree.. Unless you have a image of a keyboard player desperate to use all of his/her finger all of the time at the maximum possible speed.. There is no formula of notes per instrument per bar that guarantees musicality. However I suspect that you misunderstood my statement that the keyboard player should think about doing something else interesting. Interesting in this context means musical. [quote name='jakesbass' post='990132' date='Oct 16 2010, 12:49 PM']Instinctive or not it's not good for the overall sound to have closely related bass notes being played simultaneously unless they are in unison or carefully arranged (both are rare) Completely disagree with this analysis, it just makes for muddiness and a total lack of clarity, as I said before any Keys player worth his salt will have an armoury of voicings that don't include the root of a chord so that his input into the band becomes a piece of the jigsaw rather than covering all of it harmonically. Space is critical in making the difference between music that is messy and music that has clarity and discipline. I am the MD of [url="http://basschat.co.uk/index.php?showtopic=101421"]this[/url] band. Mike Gorman (the keys player is a master at coming up with just the right part to enhance the song. Incidentally to all this I am a great lover of really well played unisons between (especially piano) LH and bass parts, done well and in the right proportion to the whole arrangement it is a great sound[/quote]

I'd be tempted to have my amp break down (remove one of the internal fuses) and pass the problem back to the promoter.. You can always get it "fixed" urgently if the promoter is so desperate he's willing to pay an extortionate emergency repair fee...

Well spotted. I blame Ampegs marketing department now :-)

I play bass in one band and keyboards in another.. To offer an explanation it's almost instinctive for keyboard players to want to play a bass line with their left hand, indeed it feels odd only to use my right hand. The answer is for the keyboard to play something different - usually lighter, usually more syncopated or at a different interval - from the core bass line.. Just point out to the keyboard player they could be doing something more interesting than just doubling the bass, and that they're likely not to be as tight as the bass player anyway... [quote name='ezbass' post='989961' date='Oct 16 2010, 09:33 AM']Check, been there done that. Check, got one of those right now. I try to drag him back but it's usually an exercise in futility. And check! Fortunately a gentle reminder in the form of "I will f@*/><g cut that off" whilst pointing at their left hand normally solves the problem. [/quote]

[url="http://cgi.ebay.co.uk/AMPEG-SVT-410HLF-Bass-Loudspeaker-Cabinet-w-Flight-Case-/120634447212?pt=UK_MusicalInstr_Amplifiers_RL&hash=item1c165f956c"]http://cgi.ebay.co.uk/AMPEG-SVT-410HLF-Bas...=item1c165f956c[/url] Apparently this 4x10 moves 25% more air than three 15 inch speakers :-) So each 10" driver moves the same amount of air as a 15" driver? Assuming the 15" driver has a tiny XMAX maybe :-)

[url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=140463304668&ssPageName=STRK:MESELX:IT"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...=STRK:MESELX:IT[/url] It's our drummers, never really used...

Only 200W per channel into 4 ohms though... Mark [quote name='mildmanofrock' post='987704' date='Oct 14 2010, 09:08 AM']Thanks for flagging this up, cheers! Steve[/quote]

Excellent.... Great stuff..

+1 [quote name='wateroftyne' post='985488' date='Oct 12 2010, 10:49 AM']I blame Bootsy.[/quote]

I thought I was going to hate it (post punk/indie indeed) , but it's pretty good.... Well done.. [quote name='EvilSmile' post='977085' date='Oct 4 2010, 01:47 PM'] thanks![/quote]

Big, heavy power amps are pretty cheap at the moment - I just sold a TOA P1060D - about 700W bridged into 8 Ohms for £36 on the bay... (and I bought it along with an 8U case, graphic EQ and active Crossover for about £60 all in).. Mark [quote name='mildmanofrock' post='985347' date='Oct 12 2010, 09:12 AM']Thanks for the thoughts folks, I'll check them out. [/quote]

Alex, When I get bored of lugging my Warwick Terminator cab around I now know who I'm coming to talk to :-) Cheers Mark [quote name='alexclaber' post='984691' date='Oct 11 2010, 06:27 PM']Yes, words are too woolly when it comes to sound. "Talking about music is liking dancing about architecture" as Zappa or Thelonious Monk or someone like that said. We're up against a bit of a challenge as we're discussing this in your second language - unfortunately my understanding of Spanish is limited to the food I cook, sorry! I too don't have one sound in my mind, which is why I said clips/samples (plural!) Also I would take absolutely no notice of what players are using to get that sound you like - it is all but irrelevant as there are so many variables. But the joy of me getting to hear bass sounds that you'd like to have on your gigs (and they can be quite diverse tones) is that I hear what you like to hear - there are no words to misunderstand and as long as we're both listening through headphones or decent speakers neither of us should end up after the wrong tone. For example, here's what I want a bass cab to be able to do: (And yes, I know they're less than perfect quality but I'm quite good at filtering out the imperfections that the digital encoding has introduced!) Both those heads have pretty transparent power amp stages, so if you like the sound of them DI'd through a good PA, good headphones or good (good is important!) studio monitors then you'll like a fairly transparent cab. Mr Foxen is right on the money with that! I don't tend to take much notice of what people are using to get a sound because there are too many variables - and I've heard more great sounds because the player is great and despite the rig being less than wonderful, than the other way around! But the rigs/player you mention implies you're after something pretty clean (like that AJ clip?) So when it comes to seeing if there is a Barefaced cab to suit it tends to be a case of me having a listen and working out what tones you're after, then matching up the Barefaced cabs with the bass/strings/amp you're using and sussing out if any of those combinations will suit what you need tonally, and then looking at the rig you're currently using and the gigs you're playing, and then ascertaining you have enough power to drive these tonally suitable Barefaced cabs loud enough. Then there's also the size/weight requirement and also the desire for modularity or not. Part 1 - clips of desired sounds Part 2 - basses and strings Part 3 - amps and current cabs Part 4 - typical gigs and how the current amps/cabs perform at them Part 5 - practicalities Hope that makes sense! Best regards, Alex[/quote]

Thanks for the reply, I can't remember settings I made a year ago to stuff, let alone a decade ago... Once I get my hands on a USB/MIDI cable in a few days I'll see if I can edit MIDI stuff on the V-AMP and approach it from that end.. In some ways that would be preferable because I would not need to reprogram my Motif as well.. Cheers Mark [quote name='dood' post='984494' date='Oct 11 2010, 03:08 PM']Hi Mark - well, I know exactly what you mean and I certianly did do *something* to change the MIDI channel send myself....err.r..... it's just a case of what! I'm sorry to say the ole grey cells aren't what they used to be and I can't remember how to access and edit the board. Mine *may* have been a little different as I ended up buying the upgrade chip from ART too. I've been using a Roland FC-200 MIDI board for probably ten years or so now and the menu system on that is similarly convoluted! - Thankfully my TC effect rack has a 'learn' button - so I can config the effects unit instead. Would have been far easier to have the same function on the Behri' eh?!! Sorry I can't be much more help but I am pretty certain I had the Bypass button doing something useful![/quote]

Does this count? :-)

Just acquired a Behringer V-AMP pro from TPJ - easy and straightforward.. Cheers... Mark

Nice :-)