stingrayPete1977

Free ring ding

[quote name='LayDownThaFunk' timestamp='1468241673' post='3089477'] I would be wary about playing a '61 stack knob, one of only 3 in that colour ever made, and taking it out on the road. [/quote] He has other jazz basses and this signature one, he appears to use none of them live.

I agree, I've got the new album and it's good but I doubt I'll be rushing out for tickets for the tour this time, bring back John and bring back the Stingray and I'll be first in the queue! I watched t in the park too, never touched a non musicman derived bass all night, he obviously knows what he likes in that department.

I still find it a little odd that fender have released this Flea signature at a time where he doesn't appear to be using his own at all, I wonder if they will release the MM jazz he is using? It would be cheaper to produce yet sell for similar money you would think.

So clever that circuit! I think blendable in this case is all P or all J and both pickups on full in the middle, with a blend of both as you turn the knob towards one or the other.

We use the silicon free polish at home, the one with a bee on.

John East does a circuit that fits in a P bass without a battery, it charges an internal battery via the jack plug, very cool IMO.

Like anything there are sound guys and sound guys in as much as they are paid to do the sound, I could run a 4 band evening behind the desk but it would sound rubbish, if I was paid to do it I'd be a professional sound guy!

[quote name='Maude' timestamp='1468070931' post='3088421'] I can't afford a music stand as my band gigs for free because we have no talent. Being talentless means we can't remember how any songs go so we don't play anything. It's an unbreakable cycle but we're all happy because we're in a rock band and the punters are happy because they can hear themselves speak. Sometimes it seems silly but I learnt it all on Basschat so it must be the way to go. [/quote] This would never happen in Milwaukee,shame on you.

So a depping sax player isn't allowed a stand, must learn the whole set off by heart possibly for a one of gig perhaps £50-100?

The term car wax and car polish have blurred over the years, a [i]polish[/i] by nature has some abrasion where a proper[i] wax[/i] does not, none at all. Something like autoglym super resin polish has enough grit to remove light swirls and grime but you would need to rub for hours to damage anything unlike t-cut which can cut right through car paint on the edges of panels even by hand, autoglym HD wax to treat a car after the polishing stage is purely a wax, you apply it damp then buff it to a shine, it wont even remove the smallest of marks you miss at the polishing stage no matter how hard you rub it.

[quote name='mcnach' timestamp='1468028008' post='3088202'] I was going to recommend my girlfriend but... I will wait until I know what you'd want her for. edit: StingrayPete got there first, dang... [/quote] Snooze you lose Jose

Ouch!

http://www.pageflip.com/pageflipLite.html

You can get a machine that you load the pages into that flips them with a foot pedal.

My wife is Polish........ah hang on I see what you mean, I like this Dunlop 65 stuff.

If he puts a capo on I would move away from the chart quick and revert to ears!

[quote name='Mottlefeeder' timestamp='1468003467' post='3088043'] Lots of interesting comments, and just a little bit of negativity towards guitarists. Just to recap, a guitarist turns up at an open mic night with the words and chords he/she needs, and an indication of where the capo goes to get the song in the right vocal range. A bass player introduces himself and asks if he can join in. There is no way that the guitarist's notes for his/her benefit are wrong just because they do not help the bass player. Moving on, a couple of posts suggest mentally converting a song into Nashville notation, and then moving the playing pattern further up the neck. That's fine up to a point, but only if the chord progression makes it obvious what the key is. For example, one of the songs that I play has the chord sequence Verse: Dm /A7 /Dm /A7 /D7 /Gm /Dm /A7 /Dm /C7 / Chorus: F /C7 /F /F7 /Bb /Gm /F /C7 /F /A7 / If I was presented with that and I did not know the song at all, I would use 1 'If it starts and ends with the same chord, that is probably the 1 chord' (so check it out) 2 'If it has three major chords in it, they will probably be I, IV and V (so check it out) 3 'If it has minor chords they will probably be II, III and VI (so check it out) 4 Oh sh#t this is going to sound awful. Firsty, 1, 2 and 3 do not work on that song, so what key is it in, and secondly, what rules do you use to determine which chords are foreign to the key, and what the I chord is? David [/quote] I would just blag the chord chart on a gig if I had that cheat sheet to hand, roots are always there, fifths for flavour chuck the minors and 7s in on the fly, if all else fails take all the treble off and play with my thumb, sorted

[quote name='luckydog' timestamp='1468001543' post='3088025'] Yup, that's another way to fly ! LD [/quote] I am actually just doing this now, been sent a homemade chart for a Fleetwood Mac number than was sounding off at practice, the record is in A maj, he says he uses a capo so he has sent it me in G? we do not do it in G, he must be playing off the capo as the nut, no problem now as I have read his chord chart without looking at the neck pretending my A is a G so we can do it in any key now.

I play almost everything as fretted notes on a five string, if it gets moved 2 or 3 frets it's no biggie.

Everything I own is speakon these days, I've made some short speakon to phonos just in case I come across a pesky Ashdown or similar in a practice room so I can use my head with that cab or that head with my cabs if my head should fail mid gig and a kind offer of an Ashdown head was taken up. I'm amazed putting the speaker input into the input of an active speaker (both sides of the stage!) didn't kill them, I was going to say maybe they have an idiot proof protection circuit built in but that would be rude to the OP,

What sort of wattage is an xlr designed to take? I've just sold a pair of Mackie c300s they didn't have xlrs, two speakon and two phonos on each all in parallel.

Yes I've never seen xlr on a passive speaker more likely a phono, sounds like you were sending the amplified signal to the line in on the active subs? Imagine taking your speaker lead and instead of putting it in your bass cab sticking it into the guitarist's amp input! Same difference really. I wonder if the passive tops have sub out connections? Designed for passive subs rather than active.

Was it TimR? Apologies if not.

Until people grasp the idea that the carefully honed sound they created in the practice room may or may not sound rubbish as the front of house sound regardless of how good or expensive the equipment is or how well you know the kit this argument will continue forever, my bass amp is a couple of grands worth but the sound from my pa with a clean di is better than it as the front of house, it also sits in the mix easier, throwing £350 worth of post eq head at what is sometimes thousands of pounds worth of PA is quite odd really. If your backline is your front of house that's a different story.