OldGit

[quote name='dood' post='815328' date='Apr 22 2010, 07:01 PM']I have one of those! I pop it on the end of an electric screw driver - because changing the strings on my 7 string Bass can be a bit boring without!!![/quote] Special Needs

[quote name='Paul S' post='814095' date='Apr 21 2010, 07:08 PM']Well, courtesy of OldGit's generosity I can now try one out for myself. I doff my cap to you, sir. [/quote] Bassplayer in hat eh?

[quote name='tredders' post='814121' date='Apr 21 2010, 07:21 PM']If you're in the market for a 3TS 62 RI, drop Simon (OldGit) a PM. He gets in Japan-only P basses for decent prices. I bought a gorgeous 3TS '62 from him last week, and can't tell the difference between it and the "real" US '62 RI I had last year. Well, apart from the price of course He might even have one for sale at the moment.... Cheers Tredders[/quote] Cheers Mark .. Not got one at present but they do come up quite often.. I do have a 62 RI Jazz on the way but this is about P basses I suspect the ding level's a tad higher on the Japanese one than your US one That was pristine and gorgeous! ..

Wooooh That is pure pwn

RRP is 990 Euro I guess it depends on what they are asking for it [url="http://www.tech-soundsystems.com/eng/home/index.html"]http://www.tech-soundsystems.com/eng/home/index.html[/url] The Bad Cab sounds good, unless you have to carry it One cab with 2x15 + 2x12 +4x10 oh and a tweeter

[quote name='cheddatom' post='812358' date='Apr 20 2010, 11:12 AM']hi pass "lets through" everything ABOVE a certain point low pass "lets through" everything BELOW a certain point So in general, use a high pass to roll off lows, and a low pass to roll off highs.[/quote] Thanks

@51m0n Can you just explain hi and low pass filters? Thanks

Nope you don't [b]need[/b] boutique basses and amps. It's nice though

[quote name='M-Bass-M' post='812231' date='Apr 20 2010, 09:11 AM']Given all the above comments on getting your EQ correct, how then can you as a bassist ensure that you're loud enough on stage? It's easy to do in a practice room, firstly because you're in direct control of the eq and volume, and seconly because you can directly hear the mix. On stage, however, you're not only at the mercy of the sound guy, but also your monitoring zone on stage is completely different to what the audience hear. [b]Does anybody have any good tips on ensuring you get a good sound mix?[/b] Mark[/quote] Get a good sound guy and trust him. You have no control over the front of house sound beyond that. Be friendly, understand what you are asking for and talk their language without telling them their job. Know what to ask for in technical language. "a fair bit of 1.7k" is more useful than "lots of twang". +1 about eq on stage, working it out with your band. Not trying to all be in the same bit of the tone spectrum, getting the guitarist to take the lows and low mids out of their sound and making sure the keys person has a magazine to read or something else useful to do with their left hand.... Too many people confuse audibility and volume and just keep turning things up when they can't hear themselves leading to a MAD arms race. That's why people say Schroeder users are "loud" when what they mean is "Blige! I can really hear you though the mix, for once" because of the inherent mid punch the cabs have. And add dynamics to your arrangements to give space.

[quote name='RhysP' post='809062' date='Apr 16 2010, 11:53 PM']That "Shergold" was a Burns Double 6................... [/quote] Oh thanks .. cousins then

Is it the Stanley Clarke Piccolo Double Bass?

[quote name='pantherairsoft' post='811791' date='Apr 19 2010, 08:13 PM']I wasn't pretty enough to make it into the pictures :-([/quote] Sorry I was rather sidetracked Send me a picture and I'll 'shop you in

[quote name='Paul S' post='811576' date='Apr 19 2010, 05:25 PM']That sounds like an extremely kind offer I can't refuse. Although, if they are pointless, it would save you the postage! How do they work, exactly?[/quote] You are talking about one of these: rather than one of these, right? [url="http://www.stringsdirect.co.uk/products/5579-ernie_ball_powerpeg_battery_powered_string_winder_4118_"]Ernie Ball Electric String Winder[/url] £25

Nope Want one? PM me your address and I'll send you one of the few I have. They are pretty useless for bass though. EDIT in the lightof Hubrad's comment [b]IME[/b] .. but t then I only change strings about once a year...

[quote name='Stingray5' post='811290' date='Apr 19 2010, 01:17 PM']Well, chaps, the clue was in the title 'CGT+2' although more correctly, from the album, they are 'CG3+2'.[/quote] Yes it all made sence once I'd viewed the vid. It was the "trio" word I saw most though.

[quote name='51m0n' post='804662' date='Apr 13 2010, 10:56 AM']The problem is more often than not room nodes and cab placement. Try to make sure the cabs are as close to the back wall as possible (front face within 3ft of the back wall) or at least 8ft from the back wall. Otherwise you can get phase cancellation in the bass from the reflection off the back wall. Having got that right you then need to look at where you are standing, room node cancellation where you stand means you cannot hear the bass whatever you try and do, you can take any cab away, play with your eq until you are blue in the face, you wont ever be happy standing there, move as little as 4ft and you are in bass bliss. Other points to note, bass cabs dont 'throw', no cabs do, thats codswallop, what you are hearing is room nodes. All sound dies of by the inverse square law, but additive and subtractive phase cancellation from reflections off surfaces can lead you to believe that 'throw' is a real phenomina.[/quote] Ok but .. how do you know and what do you do?

Aw Looking for tracks to do in my new trio project I was looking forward to seeing how three people managed this ..

[quote name='mcgraham' post='811084' date='Apr 19 2010, 09:59 AM']Yes, thanks Mark for a great day out![/quote] +1 there. Mark's place is fantastic. So much temptation A few pics. Sorry, seems I didn't capture everyone who attended. Everyone seemed to be a Steve or a Mark so I got confused Half a dozen fine Italian basses ... [attachment=47696:WandT_Wall.jpg] Italian flavours Nice touch from Bass Direct Mark. [attachment=47698:ItalianFlavours.jpg] Mcgraham (Mark) uses a pick on his fretless [attachment=47695:MGusesPick.JPG] OldGit (Simon) very baffled "a yard of fingerbard and no frets!! Aaargh!" [attachment=47697:OG_baffled.JPG] Marks Graham (Mcgraham, left) and Stickley (Poptart and our jolly Bass Direct host) [attachment=47699:Mark_Mark.JPG] Flanker falls gently in love [attachment=47700:Flanker.JPG] Mcgraham on OldGit's Red W&T Ergon [attachment=47701:MGon_OG_Ergon.JPG] Mcgraham on his own W&T Zoid [attachment=47702:MGonMG_Zoid.JPG]

[quote name='Sean' post='810208' date='Apr 18 2010, 12:11 PM']I've been doing this with every band I've been in for twenty years and it is the tried and tested sure-fire way forward to get the gig rolling smoothly. The songs are always the same three in the same order and they segue into one another - not a la medley but just nicely flowed. We do change them every six months or so just for some variety and so that by the time we have repeat gigs we're different. Regular structured rehearsals help - make sure that they are rehearsals (not song learning practise sessions) and that you rehearse what you are going to do on stage. We set up in the same layout as we would on stage and run through sets to "practise" the flow and feel and to understand what everyone does between songs. Drummers fiddle with hardware and their stool, guitarists change instruments and pedal settings, keyboard players search interminably for patches and bassists adjust their hats to a more jaunty angle - all this has to be understood and worked into the set. Making sure that you have the right songs with minimum changes for the first three helps too. We rehearse "talking to the audience between songs", the only things that change are the venue name and a few other standard odds and sods from a menu of "stage banter". At the beginning of each rehearsal we do a "what didn't go so well, what went well at the last gig" session so that we initially highlight what needs work and ironing out and then at the end of the discussion we highlight what went well and whether there was anything that happened that was good that we could do again. We find these sessions hugely productive - remember though to start with the things that went sh*t and then finish with the positives so that you pick up your instruments with the good stuff fresh in your mind. These positives might be as simple as - "we packed up quickly" or "Mike coiled cables properly for the first time" - always get at least one positive. It's important that everyone in the band takes ownership of improvement and without these "reflection" sessions we wouldn't improve at anywhere near the rate we do. One major part of all this is open and honest communication and this could involve a lot of conversations using "we" and not "you". Experience is one thing but if your experiences are not examined and learned from, those experiences are just tourism. I know people who have played thousands of gigs over thirty years or more and they are still failing in the same places as they have always been and they'll never be in anything more than a mediocre band because of it. Don't wait for time served to make you better - look at what you're doing in detail and make it work for yourselves now.[/quote] Perfect answer. Glad I'm not the only one preaching this approach now

[quote name='Ancient Mariner' post='810719' date='Apr 18 2010, 08:52 PM']Likewise, great to meet people and hear them (are you SURE bass isn't an Olympic sport?). Most of the basses I saw were gorgeous, but so far above any kind of budget I might have for a while that they didn't induce GAS at all! Now the amps on the other hand...... Thanks, Mark, for opening up on a Sunday for us.[/quote] Awww you should have said I could have sold you the japanese Fender P I had in the boot Fab few hours Mcgrham's pair are stunning in the flesh as are the W&T's Mark Stickley has in stock. SO glad I'm sorted Mind you I bought a strap Pics soon

+1 Nice gentle versions. All abit referential but some good stuff. Danny's been the highlight so far.. The Guitarist has an interesting collection. So far the only one I've recognised is a Shergold 12 string ...

[quote name='J3ster' post='808766' date='Apr 16 2010, 06:38 PM']That would be this one then [attachment=47479:Immagine_008.jpg] [attachment=47480:Immagine_009.jpg] which accompanies my Mayones [attachment=47481:TonyBass_20TWIN600.jpg][/quote] That's the fella ... Slurpalicious!

Tredders is coming along too. I'm bringing his new old Japanese P bass for him. A bit safer than the last time we exchanged basses (that ended up in the destroyed Honer Steinberger bat saga) Be good to see all who can come along.... I hope you are all bringing basses I'll have my Shuker P5 too.