paul_5

[quote name='Oakbear' post='1075919' date='Jan 3 2011, 12:00 AM']Moog will always be cooler than an iPad.[/quote] Only just, only just.

I used to use the Korg ~legacy stuff when it first came out, and the MS20 and Polysixes did some awesome synth bass noises, really phat and rich. I'd be tempted to keep the Moog though, unless you REALLY need the money.

My, we're a bunch of maudlin gits, aren't we?

Toss up between "everytime you go away" with Pino at the helm, or "Family Business" from Fish's first solo album - John Giblin. I love Primus and Claypool too, but these guys just make it sing - Les just doesn't do the whole 'lyrical' phrasing or beautiful, tasteful glissando playing that the other two do. Horses for courses though, it's like saying "choose between sex and music" - a well balanced life should contain a healthy dose of both.

Also 'Wires' by Athlete - not my usual cup of tea, but a real gut-wrencher.

[quote name='ahpook' post='1074920' date='Jan 2 2011, 12:33 AM']well, as i'm sure you know, the svp-pro is a noisy unit...i did do some looking around online a while back and couldn't find any conclusive answers. using decent quality valves is the best way i think.[/quote] yeah, had heard that. Cheers for your prompt response, looks like I'm going shopping (again). Ho Hum, GAS 1, NY resolution 0...

I'm currently using a dBX 1066, which is nice (might be slightly out of your price bracket though), if the 166 is anywhere near as good, then you can't really go far wrong. TBH though I do quite a bit of recording drums etc... so I needed a versatile two channel unit, so it's probably not the best unit for bass, meets all of my needs though.

[quote name='ahpook' post='1073193' date='Dec 30 2010, 09:49 PM']have a word with watford valves...i did when i needed to re-valve my svp-pro and it sounds great[/quote] (thread hijack) - do you know which one (of the 5) makes the most different with regards to signal to noise ratio - I've just had a new transformer fitted to my SVP PRO and am back in the studio recording with it, but it's a bit hissy. It's probably always been this hissy, but now that I'm recording through higher spec kit it's really noticeable. It was re-tubed 2 years ago (EHX valves), but the tubes have had less than 20 hours use since then. Any advice would be greatly appreciated. cheers. (/thread hijack)

my first thought on seeing this was "holy f*ck, that's ugly". It looks like someone took the proverbial ugly stick, got some hicksville yokel to whittle it down on the front porch and then gave it to his buck-toothed inbred girlfriend to chew on it fer a while, probably while she was straining in the can. The final stage of 'production' invariably involved force feeding Larry Grayson wood glue and sawdust, then pointing his bottom at the offending article and squeezing his abdomen REALLY hard to get that 'sh*t/toothpaste' veneer. I don't like it.

yeah, Mrs_5 caught me playing fretless in the spare room the other week, I tried to lie and tell her I was watching porn, but she knew. I'm so embarrassed. On a real 'bass related' topic I was listening to some early Marillion stuff the other day, and Pete Trewavas' fretless sound seems to be 90% flanger, 10% bass - maybe this is the way to compensate for intonation errors? Maybe [i]this[/i] will make the fretless acceptable again, as it's practically self-tuning! (rant) Another thought has just occurred to me - how many other BCers have been told "there's no demand for that" when you ask for a specialised piece of kit in a music shop? The fact that I've just asked for it means that there is SOME demand for it you halfwit. (/rant)

[quote name='cameltoe' post='1074011' date='Dec 31 2010, 08:45 PM']Get the bass terror 1000w! [url="http://www.soundslive.co.uk/product~name~Orange-Terror-Bass-1000~ID~13655.asp"]HERE[/url][/quote] Hucking fell - that's a face-melter!

Them purty amps. I've done quite a bit of recording g**tars over the years, and my the easiest tones to record come from an Orange Tiny Terror and a 4x12. Period. Just a great sound. With this in mind I've toyed with getting rid of my LH1000 head and using the Bass Terror head instead, I know that (on paper at least) there's a massive drop in power output ratings, but that's not really an issue. How do you guys reckon the Terror would stack up into a Hartke Hydrive 410 cabinet? PS I reckon my wife wouldn't notice ANY change of amp apart from an Orange, Everything else seems to be the ubiquitous black / grey, so no massive change visually.

[quote name='Soliloquy' post='1073902' date='Dec 31 2010, 06:08 PM']See my previous reply, there's only Flea in my list of players who uses (sometimes) a Stingray.[/quote] Turns out that the basslines on BloodSugarSexMagic were done on a Wal, and for the later stuff he's using a Jazz. Personally I reckon his best tones come from the Jazz. Just my 2p worth.

I've promised myself that I'll nail "Giant Steps" this year, we'll see...

On the rare occasion that I use one Cactus picks - heavy (1mm) - got some free when I bought some vintage Boss gear from the birminghambossboutique, actually really comfortable to use and a nice edgy tone too. [url="http://cactuspicks.com/"]http://cactuspicks.com/[/url] Everything else just falls apart after a couple of thrashings, but these seem to last and last.

Hi All. I used to have a TE rig years ago: AH130, 2103H, 1153 and an SMX compressor pedal. I don't have any pics, but if I close my eyes tight and listen [i]really[/i] hard...

Welcome on board Boris, good to see some love for the Costello stuff down there in sunny Brum! Wasn't your Trace rig recently in the TE porn thread? I seem to remember someone posting that they'd recently had theirs serviced after they thought it was goosed? Cheers, Paul

Good do, really enjoyed these tracks, "Sea people" is my favourite - I'm a sucker for music in 7. I'll give you the same advice that Zappa gave to Steve Vai way back when - "Don't stop, keep going and keep your publishing".

Hello to you, good to have another low ender on board.

I remember hearing some Wham tracks when I was out shopping with my girlfriend in the late '90s, I also remember thinking "wow, that could be Flea playing that" turns out it wasn't, nice to put a name (and a face) to the line.

Going one better than Chris Squire's fluid 'bass dismount'... [url="http://www.youtube.com/watch?v=YeicBoeq_Yc"]http://www.youtube.com/watch?v=YeicBoeq_Yc[/url] Poor kid.

probably the easiest way to do it is to solder two pieces of wire to the terminals onto a 1/4" guitar lead plug, then get your meter across the ends of the wire as you play the bass - this will be in millivolts, so make sure that your meter is set to read really small voltages. Because of the design of guitar pickups the harder you hit the strings, the more voltage is produced, so you're probably better taking an average. Solo each pickup using their respective volume knobs and compare the output levels. Hey presto, pickups still intact and measured. Simples.

That is special alright. Very special...

[quote name='0175westwood29' post='1064112' date='Dec 19 2010, 10:34 PM']ok cool sounds good! any idea what pedals are ok to be used with it? andy[/quote] The Boss EV5 is designed to work with Boss pedals, or for roughly half the money a Moog EP2 is compatible with Boss stuff - bit more rugged construction too.

Here's my 2p worth. Turn on your radio, have a listen. Chances are that there's some insipid pre-digested pop music that has no cultural worth or value, 'sung' by an artist that will maybe only do the one album before being dropped for 'the next big thing' within 12 months. Record companies simply don't invest in [i] artists[i] anymore - they release all of this tosh because it's guaranteed to sell - and thus make a return on their investment. Arguably if everyone who stole music from the internet started to pay for it then the record companies would have more cash to support not just new, but semi-established artists who need nurturing artistically to produce their best material (good for artists, good for punters). Back in the day labels would tolerate months of studio time because they could afford to have faith in their roster of artists. Yes, they weren't all zingers, but how many truly ground-breaking albums are produced now? Labels just can't afford to do that anymore. I'm not saying that they are pure of thought, word and deed - this is business after all - but they need to make a quick buck to keep the wheels turning. Sadly that's a sign of the times. That is all.