6stringbassist

[quote name='robocorpse' post='720413' date='Jan 21 2010, 07:12 PM']"Lowfer" advertised it here on October 25, and presumably sold it to "6stringbassist".
"6stringbassist" (Kevin) advertised it on Nov 19th, mentioning the plate was being changed by JD, then posted the bass was "SOLD" on 28 November, so he had it at least 2 weeks.
The way I see it is unless Kevin did the dodgy wiring himself, then the fault may partially lie with Lowfer (JD wouldn't have done that). The fault could easily "develop" if the wiring is sellotaped instead of soldered. The old advert for the bass mentions John Diggins changing the plate while in Kevins ownership, so I am surprised this wasnt brought up in conversation with Kevin and JD, so I think Kevin knew all along, and just let it go as is. Somethings wrong here, JD wouldn't have let a bass out like that without telling the owner, and/or offering to mend the wiring. Rewiring a Stingray aint exactly rocket science...[/quote]

I wasn't going to reply to this. I'm of the opinion that what happened was between me and Scott.

Seeing this has made me change my mind however. I 'owned' the bass for two weeks. It spent those two weeks at John Diggins workshop, he will confirm this.

It was taken to him the day after I bought it, I got it back from him the evening before I sold it. It was actually in my possession for about 24 hours. I didn't get home from collecting it until about 11 o'clock, and I had a gig on the evening that I collected it from John Diggins.

If I was aware of the fault I would have had John fix it. It was taken to him to have a new scratchplate fitted and to have the fretboard cleaned and re-finished. He had the scratchplate off and didn't see anything !

If I was aware of the fault would I have asked that people came around to try it. I'm sure I remember stating in the advert that personal collection was preffered !

It took Scott a month to contact me to say it was faulty, he was busy. Surely he could have spent a few minutes to email or phone me.

He tried the bass in my home using his own amplifier. I was in London at the time but my Dad states that Scott was 'over the moon' with the bass. Surely is the bass sounds as horrible as is being said, then he'd have noticed it. I mean you don't have to know how something works to know that it's faulty. He had my mobile number so he could have contacted me when I was in London.

I bought the bass on a whim. The day after I'd bought it I noticed a Zon Sonus 6 sstring bass for sale on here. I've wanted a Zon for years. If I'd seen the Zon first then I wouldn't have bought the Stingray. I decided to sell the Stingray to pay for the Zon.

I have never and will never sell anything that I know to be faulty.

Cash sale ?

Ha, this is my old gig. Nigel replied to my wanted advert for a replacement bass player last week.

I met him last night, and he seems like a really nice guy and I hope he enjoys himself.

And good luck with learning all of the songs, there are some really nice bass lines in the Free stuff. I never actually got around to learning most of it, I just used to make it up .

[url="http://www.thebassgallery.com/workshop.cfm"]http://www.thebassgallery.com/workshop.cfm[/url]

Michael Manring uses D'addario EXL nickel strings, 095, 075, 055, 035 gauge I think, he de-tunes quite a lot on his songs.

I do occassional gigs with a Paul Rodgers/Free/Queen tribute band, the money's OK and they play some good venues around the country.
They're also nice guys and we have a good time.

The lead guitarist plays well, has good feel etc and plays some really nice 'bluesy' solos. But he doesn't have any real idea of what he's actually playing. I tell him what the chords are which is kind of ironic 'cos I'm the bass player .
It was odd when I first started playing with them last year, I'd never really played or listened to much of the material that they do, so I'd ask what the chords were when we were rehearsing only to be met with blank looks.

They're getting a new fulltime bassist from February, to make it easier for him I've written out chord charts for him.

Bump.

[quote name='Doddy' post='701173' date='Jan 5 2010, 12:02 AM']A mate of mine has got a great knowledge of theory,and regularly tours the world with some of the biggest
names in Jazz,has done some major 'Pop' tours, is an in demand clinician,and is also a busy producer and MD.

[/quote]


[quote name='jakesbass' post='701179' date='Jan 5 2010, 12:13 AM']I have a diary full of colleagues that have toured and recorded with....
Faithless, Robbie Williams, The Sugababes, George Russell, Dave Holland, The Hours, Black Grape, Peter Gabriel, Del Amitri, David Garrett, Ike Willis Bobby Martin, Peter Erskine, Joni Mitchell, Shirley Bassey... actually the list is endless and some of those gigs I've done too. The sole reason the guys in question were in the frame is due to their complete musicianship.[/quote]

A friend of mine has an amazing knowledge of theory, (he's also been my main teacher since I was 17), he has toured the world with big names in pop, rock and jazz, he's also head of bass studies at ICMP in Kilburn.

I guess what we're saying is that while there are some amazing players who have very successful careers in music, without having a great knowledge of musical theory. Having that knowledge makes you a far more rounded and versatile player.

[quote name='Toddy' post='700271' date='Jan 4 2010, 10:27 AM']I personally couldnt sit in an orchestra pit next week,, but that guy probably couldnt bounce around on stage at Butlins......[/quote]

Why couldn't he ?

I do theatre work and reading gigs, and I love to just improvise and groove with other players and move about on stage.

[quote name='Rayman' post='700695' date='Jan 4 2010, 05:35 PM']Do you not feel that reading the dots makes you stay within the box rather than think outside of it with your own creativity?[/quote]

No not at all.
It totally depends on the gig. I can 'busk' along to chord charts or just follow what's being played by other musicians. I can sight read accurately and I do the occasional orchestra pit job. I love just improvising and even do so when I'm able to on a 'reading gig'.

Price drop on many !

Photo now attached.

This was the original preamp in my Zon bass, the previous owner had it taken out and replaced it with a Keen preamp.

I'm actually going to replace the Keen with an Audere, so this is surplus to requirements. I'll be selling the Keen when I get the Audere.

It has volume, pickup blend, stacked bass and treble cut or boost, and mid cut or boost with a selector switch for the mid frequency.

The pre is exactly as I received it, as you can see from the photo there are a couple of stray wires, but you can get the wiring diagram here [url="http://www.bartolini.net/instructions/electronics/ntmb/ntmb918f.htm"]http://www.bartolini.net/instructions/elec...mb/ntmb918f.htm[/url] so it should be easy to sort out if you're the 'handy with a soldering iron sort of guy', which I'm not.

It doesn't come with knobs.

£30 posted .

Nahh, not enough strings .

[quote name='deathpanda' post='698884' date='Jan 2 2010, 05:39 PM']I think it just depends on what you want to do, it's such a broad subject... If you want to do some session work, but reading music will be required, well then you'll regret not learning theory. Someone correct me if I'm wrong, but if you've been asked to transpose something up a tone on the bass, surely playing 2 frets higher is all that's need? And the rest of it would be up to the guitarist and keyboardist to figure out the correct chords?[/quote]


But you're playing chords too, or parts of them ie root, 3rd, 5th etc. But yes you are right a tone is two frets .

[quote name='jamieariss' post='698853' date='Jan 2 2010, 05:13 PM']i see music as a lanuage

we can listen and speak it without having to think about what we are saying.
but to you can develop a lanuage by learning to read it , write it and the least important part the theory behind.

unfortunetly i started playin usisn theory so when i come to using my ear i was usless. so i had to jump back a fair way ha

theory could be ur icing on the cake but the u need the big fat centre b4 hand .... thats my opinion [/quote]

Learning to use your ear isn't what I'd say was going backwards.

You could already play, you knew that what you were doing was right. Learning to use your 'ear' is just a part of being able to play.

When I was first learning to play, I learned what the notes were on the fretboard, and basic harmony theory....knowing which notes made up the chords (which lets be honest isn't at all difficult, I was only 11 ).

I used to spend hours playing along to records on my parents stereo, songs by the Beatles, Genesis, The police etc. I had some song books, if I didn't have a book I would work out what the changes were. I knew whether the chords were major or minor from my basic knowledge, I used to write the bass lines out (in notation not tab, again something that's looked down upon, but again I was only 11 possibly 12 ).

People have the same thoughts on technique. They say 'Oh technique holds you back, it hampers creativity', which is nonsense. Having good technique and 'knowing' what you're playing go hand in hand to produce

[quote name='Doddy' post='698838' date='Jan 2 2010, 04:56 PM']Exactly-he was hired because of his style. But, his style became unpopular and his work load
dwindled,which is why he now runs a martial arts school.
The problem with being a stylist is what happens when that style falls out of favour?[/quote]


A great example is Nick Beggs, he was successful with Kajagoogoo. He then "learned how to play properly" (his words I think) and carried on his career as a session player. He was taught funnily enough by one of my teachers.

[quote name='Kev' post='697980' date='Jan 1 2010, 02:41 PM']ever considered the viewpoint that knowing theory may well cloud your judgement, cause you to overthink things and base your lines on what your told sounds right, rather than what your ears thinks sounds right?[/quote]

Does knowing too much English vocabulary inhibit your conversational skills or improve them ?

Music is a language like any other, learning the theory behind what you're playing [b]will only improve your playing[/b]. It will give you new ideas in what to play, and make your playing more fluid and confident.

I know loads of theory, I love learning about it and it really hasn't hampered me.

Comments like the one above are usually made by people who frankly can't be bothered to learn, it's just an excuse .

Bedtime bump.

Some 10's though are rubbish for low B's.

The EBS 4x10 for example is awful for anything lower than an E.

Looking on the Markbass website your cab should go down to 40HZ, which compares to other 2x10 cabs by people like Epifani.

Do you use the EQ much ?

I tend to keep everything pretty much flat.

I've never played through a Markbass combo, but I did hear Michael Manring play through one recently, and he had a beautiful clear sound. He was playing his 4 string Hyperbass, and he does use some low tunings.

Maybe consider a different cab.

I got a used Acme Low B2 for the ridiculous price of £200, it;s by far the best cab that I've had, and easily handles low B's. Not the most efficient of cabs, but with a reasonable amp it's great and fine for medium gigs without a PA.

Made by Castle cases in July, in excellent condition.

I'd prefer a 2U one though.

Just got home from my gig bump .

Bump again, looks like I'm off to Ikea for a new book case .