Wil

Really interesting to hear Lennon work, thanks for posting!

Have you ever heard of a Camberwell Carrot? Well, one of those, and then work fast to record the idea. Really fast, because the idea will turn into rabbits and dust in no time.

It is good ear training though and I do this on occasion. I also like to play guitar while watching telly sometimes and play along with any incidental music, adverts, theme tunes etc...

Surely you may as well just put the player on shuffle and play along without looking at the upcoming tracks? Still a random assortment

[quote name='MiltyG565' timestamp='1365679386' post='2042704']
My bass teacher told me about gold strings he used before. He said they sounded excellent, but because of the price, he would rather get ProSteels, because they were the closest sounding at half the price. That's what I was told anyway.
[/quote]

Yeah, they're not cheap. So much so that I bought a Gretche Corvette a month ago, broke a string 2 weeks ago and havent restrung it yet...

[quote name='xilddx' timestamp='1365678717' post='2042687']
I might try them mate, can you elicidate on the tonal qualities of the Optimas?
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They don't sound quite like any steel strings I've tried. I've been using them for years now so hard to directly compare, all I can say is they sound so good I've never been tempted away from them. I was hopping between brands all the time before.

[quote name='xilddx' timestamp='1365678038' post='2042674']
What's the difference in timbre with your ProSteels compared to a cheaper alternative? And what gauge?

I use D'Addario 9-42 on my Strat, it sounds great.

I have also read from an expert on Gibsons that many players go for higher gauges on their Gibbos to get better tone, but if you have a great guitar in the first place it will sound great with even 8-40s, only poor guitars need heavier gauges.
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I use 11-52 on my Strat. I can tolerate 10-46s but they feel a bit too loose to me and anything lower than that and I'm convinced you lose some body in the sound, although I'm sure nothing some EQ couldnt sort. I've tried D'Addarios, Elixers and Ernie Ball strings but use nothing but Optima golds now, I highly recommend them. Not only do they not set off my nickel allergy, but they last longer than any other non coated strings I've tried. I've been complimented on my tone many times but I like to think it's all in the fingers

Vic Wooten, Marcus Miller, Mark King... sparkly sterile scooped slap sounds suck. IMO. Their fingerstyle tones are a bit better, but generally too polite sounding for my taste.

[quote name='Dave Vader' timestamp='1365672262' post='2042553']
No I haven't yet wanted to beat anyone round the head with a looper for thinking it sounds nice.

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[quote name='mickster' timestamp='1365592683' post='2041426']
Wil - Ta for posting - really enjoyed that, and I'd not heard of her before.
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No worries! She's awesome. Her album Whokill was easily my favourite of 2011 (or perhaps 2012, whenever it came out, I forget).

Merril Garbus of Tune-Yards puts a looper to good use. I think she's amaaaaaaaaazing:

[u][color=#800080][url="https://www.youtube.com/watch?v=_wjrmjvfsa8"]https://www.youtube....h?v=_wjrmjvfsa8[/url][/color][/u]

[color=#800080]*Edit - better link. Oh, and she's not a bassist I realise.[/color]

I have dabbled. The strangest thing at first will be that it's tuned in fifths, not fourths like a bass, but I found this fairly easy to get used to after a bit of scale practice. The hardest thing technique wise is bowing, getting a clear and even sound across all strings is something you could spend your life working on. I'd recommend some lessons for technique tips alone, although I taught myself (and subsequently gave up, although if I had space I'd love another go someday).

In my experience it sounds more like everything is buried in compost.

[quote name='TomWIC' timestamp='1365163748' post='2036144']
About quarter past 1 I think.
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In all seriousness, I've got a pair of ER20s or whatever they're called and hate using them. Everything sounds muffled, I cant hear my guitar properly (yes, guitar) and it sucks all the fun out of rehearsal for me. Are the really expensive moulded earplugs any better?

Pardon?

We definately get a better, clearer and more balanced sound when we all turn down in my band. But it's also nice to feel the air moving when you play so it can be tricky finding the right balance... Rock music is meant to be loud after all!

I used to use a Sansamp RBI with the XLS 700, and it kicked arse. Probably the most capable rig I've owned tbh. I stopped using it in bridged mode however because it kept cutting out (I guess from overheating) - unbridged into a 4ohm Schroeder 410L it was plenty, plenty loud and clear however.

[quote name='TommyK' timestamp='1364998541' post='2033872']
+1 Frusciante just blows my mind with his "feel", he has got it in spades IMHO

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Yeah, love his playing, he can makes notes really sing. My favourite Frusciante solo is from this. Love the tone too.

[url="http://www.youtube.com/watch?v=pi9dIpfWd4c"]http://www.youtube.com/watch?v=pi9dIpfWd4c[/url]

I can't wait until someone invents inflatable cabs.

[quote name='xilddx' timestamp='1365002343' post='2033963']
I gig my POD X3 direct to desk with both guitar and bass, and I just rely on the stage monitors. I use it for everything. I haven't gigged or recorded with an amp for a very long time. No issues.
[/quote]

Couldnt really do that in the rehearsal rooms or venues I play (not that we gig often), the monitors are either non existent or shocking IME. Our rehearsal room's PA can barely handle vocals let alone guitar too...

I use a little 30 watt Peavey at the moment though so it's not too much hassle to cart.

If you're going to use that many effects you may as well Nice playing though Nige.

I've been quite enjoying noodling at home through Amplitube 3 lately with my Strat into an AC30 patch. It's not quite the same as the real thing, having owned one, but at practice volume it's not different enough for me to care. I tend to find the real test for digital stuff is when it has to compete with a full band rehearsal. I'd be interested to try a sansamp or pod in that situation, but considering you'd have to lug something to make it loud anyway I'm not sure I see the point when I already own a valve amp.

Bump for another pricedrop, £275 each collected.

I very much like the look of these:

http://www.fret-king.com/eliseblacklabel.html

I really liked it. Some lovely analogue synth sounds, interesting glitchy beats, some nice melodies. It sounded very much to me like a more electronica focused King of Limbs, and I think I probably prefer it to that record. It's not nearly as dark or as varied as Kid A, IMO (although I think Kid A is a splendid record it's also a very heavy listening experience for me, this was far more accessible and quite pleasant to have on in the background while I was pootling about doing other stuff).

[quote name='BigRedX' timestamp='1363708201' post='2016289']
I try to never use patterns because that means that I am repeating myself. When composing a bass line each note (or rest) is carefully considered to be what I consider the best one at any given point in a song.
[/quote]

Good point. I try and make a concious effort to compose lines with my ears rather than my hands, it's difficult though. I like this quote on the subject:

"Your hands are like dogs, going to the same places they've been. You have to be careful when playing is no longer in the mind but in the fingers, going to happy places. You have to break them of their habits or you don't explore; you only play what is confident and pleasing. I'm learning to break those habits by playing instruments I know absolutely nothing about, like a basoon or waterphone" - Tom Waits