Wil

[quote name='BottomEndian' post='1310401' date='Jul 20 2011, 03:12 PM'] [/quote] Thanks for that I don't think I'll be getting one any time soon, not really my cup of tea, that sound.

What do these pedals actually get used for (outside of d&B/electronic music)? I struggle to think of where I've heard an octaver in action.

Today so far I've been continuing on my Zappa journey and listening to One Size Fits All (which I love) and Hot Rats (which I also love). Once I've heard these to death I'll be starting on Make A Jazz Noise Here... It makes me very happy to have more music to listen to in the day than I have time for, for a change!

[quote name='Roland Rock' post='1310104' date='Jul 20 2011, 11:12 AM']'Rain Dogs' album by Tom Waits -Tom is a new discovery for me and it's a superb album[/quote] It is a great album. If you like Rain Dogs I'd check out Swordfishtrombones next

+1 on pickup height being set so they're not too close to the strings. I also find a higher action and heavier strings can result in a fuller tone, in general.

On my F1 I like to either keep the EQ flat, and use a touch of the VPF filter (less than a quarter turned up) OR I might leave the VPF off and just boost the bass a touch. If the top end is too bright I might roll the VLE filter up a touch too. It depends what cab I'm using and the room, really. Small adjustments I'm not strictly using a jazz either, I've got a P at the neck and a soapbar at the bridge, wired like a jazz. Gets close soundwise though.

I like to roll the bridge pickup off a touch for pick playing, or roll the neck off a touch for finger playing. Brings the mids out nicely. Both pickups on full sounds a bit scooped, which is a nice tone in itself but can get lost in the mix.

Absolutely, I do most of my writing on guitar. It's not that hard to pick up, but the initial few weeks can be tough on your fingers. I taught myself initially with an Ok Computer songbook that included chord boxes. After I'd got to grips with the common chord shapes my hands were a bit more used to guitar technique and I could work on constructing chords by ear.

[quote name='deaver' post='1308460' date='Jul 18 2011, 09:39 PM']This much more fun last time we did it [url="http://basschat.co.uk/index.php?showtopic=11101"]Tal Wilkenfeld[/url][/quote] Christ, I had a right stick up my arse in that thread.

I owned a BX3000t, years ago - it worked, weighed a ton, sounded pretty dull, and was very wimpy for it's 300watt rating. Ok for the cash I suppose, but for the same money, give me a used Peavey T Max any day of the week. I also owned a 2x10 "bugera" coned cab - easily the heaviest 2x10 cab I've owned. Sounded naff, a bitch to lug about and the speakers self destructed after two rehearsals. You get what you pay for.

I had a 2005 MIM P bass and it was definately not a keeper. Weak sounding, and just felt a bit unrefined.

She's certainly way better than me. Tight and melodic player.

I was 100% fingerstyle for many, many years, but now I find I'm probably 90% pick, 10% fingers. I've found it can be just as expressive and articulate as fingers, and the attack cuts through the mix in a loud band really well.

If the pickups are out of phase, then to fix it should be as simple as swapping the two wires from the neck pickup round, it wont cause any harm. I had a similar issue when I first wired up my mongrel P/HB bass, I'd mixed up the hot/ground wires from the neck pup.

I would agree that fretless tends to have a unique tone that is hard to escape from, but I don't see how that's any different from acoustic piano, upright bass, classical guitar, or any other instrument that isn't EQ'd to sound different. If you like the sound, use it, there are no stylistic rules in music apart from those that we impose upon ourselves. PS. IMO, Jeff Berlin may be innovative in his approach to playing, but I wouldn't exactly hold him up as a benchmark of good taste

Really good read, keep us posted!

Well, it might not get lost in the mix, as there are other factors to consider (if you've already boosted the mids at your amp to compensate then it's a moot point I suppose), but it's worth knowing about. The slight mid scoop is down to phase cancellation I think (hopefully someone with some technical knowledge will correct me if I'm wrong!). All I know is, on my P/Humbucker bass (which is wired like a jazz) there's a far more "grunt" to be had by backing one of the pups off just a touch, so I tend to run it that way for 90% of our set, and then whack both pups up full when I want a smoother tone.

What a band.