LukeFRC

band i used to be in... big set, headlining king tuts wah wah hut in glasgow.... start off playing and as a band we go mental dancing to all that electro-synth-pop stuff we did. Half way through my signal keeps dropping off. Look at sound guy who looks like he has no reason why, fiddle with lead into bass, no help. stand very still and its a lot better. Play the whole gig stood stock still as my band, the audience and everyone go pure mental. At the end reach down to the DI box i was plugged into (on the floor) to realise i had stood on the lead at the end while playing, the metal sleeve had sheared along with one of the solder joints giving me an intermittent open.


Playing in church band start an african style song, I start a very busy african style bass line, (lots of 3rds and 5th) the song is played for a very long time. After 10 min plus of playing this same very long bassline my hand hurts. We stop playing and the pastor starts praying. Everyones eyes are shut, i wave my hand around trying to get riid of the tension of playing the same thing for 10 min and manage to whip my e string hard, right on a harmonic so it gives out a big aatwaang..... oops

based in wales but a saltire at the top of the page??

i thought if i stuck it up someone may bite.

however nice that may be for you guys i'm also in advertantly advertising for soundcontrol and feel dirty

soundconrols sales bit....

[url="https://www.estagemanager.com/test/index.php"]https://www.estagemanager.com/test/index.php[/url]


theres a fender jazz deluxe 5 sting there there for £199.99, that doesnt sound bad!



............................
although you are in edinburgh too, and they are both down south...

[url="http://fender.com/news/index.php?display_article=110"]http://fender.com/news/index.php?display_article=110[/url]
he plays a light blue mexican one.
i also seen photos of him with a red one.

a grey one? made last year? nah, he shop lifted it fae soundcontrol to flog on the bay i reacon.

the cheaper jazz also has strat knobs on it. hence cheaper.
I got my bass from him, its ace.
Hes good if you dont want to import yourself.
And dont forget bass gear is considerably more expensive for people not on basschat or the like as they dont have access to so much second hand stuff.

there was some live chilis dvd (from slane?) and they did this shot of flea playing and jumping whilst the camera moved around him. that was way cool.

the londons calling cover is pretty sweet.

Even if you hit it with a sledge hammer to make a head part come off a combo you would need a very precise blow.
Or a saw and a chisel.
:S




sorry posted then realised not the most helpfull thing!

the forum bicycle

I bought my amp off him. Quality guy, was good on the email responses and phone answering, although I may have had his mobile number. He had a personal issue which meant that the item was posted a bit late but he rang up and explained and appolagised after. He's a good guy so im sure there will be a good reason and he just been a bit disorganised. Keep phoning and they will come!

panning guitars to different channels would be daft. It would only work for folk in the middle of the room everyone else would just here one guitar.

I think the Eq ideas ppl are giving are usefull ideas of how to start thinking about fitting instruments around each other but don't go writing it down and demanding that what you want from the sound man at your next gig.

Everything is totally dependent on the shape, size and construction of the room and the design and positioning of the PA and if the PA has a lovely multiband parametric EQ thingy (looks like two very big graphic Eqs ususally in one one unit box), this goes into the way you set up each instrument too. The bass guitar 'boomy-ness' is more likely to respond to the length of the room than any set frequency.
Different guitars need different approachs depending on the type of guitar/amp and the role it plays in the music. For isntance a Tele through a De'ville you will approach completely differently to a Les Paul through a AC50.
Vox is totally dependent on the singer and the sound characteristics of the mic.
Interesting things to note are how to make something sound 'louder' to the audience you can often turn the treble up to make it more defined.

Its best to just use your ears, learn what the Eq controls do and just fiddle till it sounds good.
I did and trained my ears enough that I could pick up a bass and teach myself to play, and now look at me- on some bass players internet forum!

sound guys make more difference to sound than GASing good gear.
some bands just suck though whatever you do.

There are more folk doing uni level courses in photography in the UK this year than there are professional photographers in Europe.

I went to art school so is probably a bit different but but may have similarities, heres my two pence...

They create a system where they can teach the lowest common denominator to get to a certain standard and pass the course. If you do the course you will get taught the stuff up to that standard.
If you are any good and can keep motivated there will be the facilities to go beyond what you have to learn into something that is your own. Work hard, push yourself beyond (and sometimes against) the system and you realise the system is in a wierd way helping you too.

Hopefully the photo will work
from left to right.

songs in the key of life
Squier Stratocaster 1985 some random 'professional model' any way it has 6 strings so who cares?
Hughes and Kettner Quantum 600 - my amp has considerably more pretty blue lights than yours!
Tech Soundsystems 2x12 (used to be a combo)
Status Shark Proactive 4 1997
Fender Precision Bass 1957 RI CIJ 2005ish
Christmas Tree

Not in shot - all the snow falling!

l leant...
real drummers are better than machines- more fun

practicing a song 50 times before a gig or video shoot is good and means you will have it nailed.
but getting the chords of a song you have never heard before 5 min before you start playing keeps you on your toes.

if you don't push yourself in your playing you don't move, if you don't move i get bored.

knowing theory makes you a better player. So does forgetting you know the theory shutting your eyes and writing bass lines by what feels right.

fine art degrees no not lead to amazing jobs straight away.



on another note: if 06 saw me buy an amazing bass in my CIJ 57'RI P bass then 07 saw me buy a decent amp setup in a H&K Q600 head and a Techsoundsystems 'classic' 2x12 cab (for under £650- yeah!) so im not sure i need ever suffer GAS this year unless I swap something

i got mine ready named! one is called fender and the other status. not the best names though.

aye some times they dont have a clue
a lot of the time the bands are disorganised, dont really know how to communicate what thye want and dont really understand what to ask for.
And often all these weekend rock stars are so self centered and rude to PA folk (mainly a guitarists crime?)

I used to do P.A. with a large church (big rock style band- all very good musicians) and it was great as you would be doing the same folk most the time. You could build up a relationship of communication and being able to talk to one another.

One other problem is if the PA guy doen't really know what you are supposed to sound like. This is not his fault unless you go tell him. One gig i was borrowing the headliners (Glasvegas- top guys) fender bassman head, it was lovely. I got a nice tone, and the sound guy came and had a fiddle and ended up with a indie band twang thing rather than the more dubby end i had dialed in. Again different ideas of what the bass is doing. If the guy has never done a funk band before its not his fault he sets it up like a indie band- you need to go talk to him, explain. For a lot of folk bass is just this lowend rumble.

Again with foldback and FOH sound they both effect each other- therefore what you aim for as the sound guy is a compromise between the two. As a band aim to have the foldback as low as possible (often govened by the volume of the drums in the room) To be honest when doing PA i would rather have the band having to play slightly 'blind' in terms of not having as much of themselves as they (think they) need and have a killer FOH sound than give the band exactly what they want and have it sound like mush to the audience.

The third thing i would like to suggest may come hard to those who's GAS has caused them to spend thousands on fancy gear. But IMO it's not about you. Or any other of the musicians, its about the noise you make and the ears that hear it. As a soundman i'm trying to blend together all these different sounds to make something great for the audience to hear. Without really clear ideas of what you are aiming for ill just get on and do this the best I can.
If it comes down to it and your 'trademark' bass Eq sounds gash on the night I'll either turn you down or try and correct it on the desk. Either will make the band sound better but maybe not you? I wouldn't have any problem ignoring your three grand rig and taking a DI out the bass before your rig if I can make you sound better. You can have a 3 grand foldback! Again communication would improve this situation, give me what i'm after out your rig and i can try and give you what you want. But it's not about you.
if that makes sense?

when i have a spare stingray about i would like to wreck one.
i guess that will be after my 4th album goes platinum....

why?

I'm glad that is all sorted.

I bought a cab off the statii forum, but the guy delivered it to my parents house and swaped it for cash (he didn't know my mum knows nout and he could a cardboard box with 'speakers' drawn on)

When i came to sell an OD pedal on here i was amazed at how quickly someone would part with their money. I'm lucky to live in a city whch ment i could post it the next day so we were both happy.

Growing up in Essex we were very short in conversation and would just get things done, up here in edinburgh folk are more relaxed and have a bit of a blether in shops and that. You talk more. Maybe if we did that on here, got used to a blether before any transaction we would be more aware of any scammers.
The buying and selling on basschat is great though. anyone want to sell me a fretless neck of some kind!

im with ou7shined here... its either or on Orkney or not. theres no such thing as 'near' orkney- that would be the sea, which is a fairly good place to post imaginary bass guitars from....

ive no idea but if you post photos you will get this hoard salivating

im an artist so no idea.
But if it is acrylic spray paint then look for a shop that sells to local graffiti 'artists'. Its bassed on car paint. Is a load cheaper (£3 ish for a can) comes with a range of nibs.
If it doesnt really play that well anyway see if you dont mind messing it up

i got a CIJ P from fareastguitars (type it in to google) good guy- imports second hand fender japan stuff. Probably as cheap to buy new and pay import duty.

*CAUTION: very subjective experiences*
Before buying i tryed out a AM series which was really really cheap. But to me that particular one just felt wrong, plasticy finish, bad balance and it just didnt feel like it was made of wood. S1 switching was pointless too. It didn't feel like a special bass you would enjoy playing it felt cheap. To be honest if i had just had the choise of the one shop to buy a p bass i would have walked out with a squier

get the jazz looked at and shielded, buy yourself a new cable, dont play near any strip lights, make sure you always have some part of one of your hands in contact with a string, take the wife/girlfriend/future girlfriend out for a lovely meal and give the other £1000 to your local hospice.


Otherwise just go to some of the bass shops and buy whatever feels/sounds good to you. I mean if it does what you want it too who cares if it's a shuker or a stagg?