steve-bbb

not tried the originals but the 'designed' version i had a pair that were the original factory fitted in a vmJ - sounded like a bag of marshmallows wrapped up in cotton wool - all fluff and boomy bass and very little definition maybe i just had a dud pair - took them out and replaced them wouldnt entertain using them again

an early 90s TRB6P

good luck finding an early 90s TRB5p for that sort of price - they dont come up for sale often, they are snapped up as soon as they do, and for considerably more than 500 but you will find a bolt on neck newer model TRB1005J for that sort of price and possibly even a few quid less

And in your dreams You can see yourself As a prophet Saving the world The words from you lips (I am not a crook) I just can't believe you are such A fool I just can't believe You are such a fool I just can't believe You are such a fool

felt or leather pick

Does said guitarist by any chance have his low end cranked right up and his mids slightly scooped (cos it sounds great when he is playing at home) ???

So... I’m thinking of getting a ickle amp for tiny gigs and practice and wondering what you wonderful basschatters would recommend would be using it with one (or poss two) Hartke hydrive 112s so would be nice if it auto adjusts between 4 and 8 ohms ihave my eyes on the trace Elliot elf so something similar ish take it away! TIA

that widdly bit in the break in 'you can call me al' - im told it is rerecorded backwards with envelope effects or so me such so you can only play something that sounds close effects wise - its one of those things that when broken down is deceptively simple but the second part is the first part but inside out and upside down and the more you actively think about it the more it wants to fk up your ear/brain/finger coordination - best to learn very slowly in pieces until you can play it purely from muscle memory without thinking at all

sigh ....

ive seen some very passion performances sitting politely and attentively and clapping at the appropriate points (recalls pat metheny and lyle mays at hammersmith odeon) - ive also been to livelier gigs with the front of the stalls filled with standing/dancing jumping etc (be bop deluxe) both completely different crowd dynamic but irrespective of musical ability both very passionate passion is independent of technique, ability and vigorous physical movement

i would suggest that there is not much luck at all now compared to three four decades ago - as with all businesses there is too much profit to be made and for the money wranglers to allow luck to prevail would in their eyes be quite detrimental to their bank balances this sums it up better than i can Frank Zappa Explains the Decline of the Music Business (1987)

likewise there are equally as many talentless charisma-less acts/artists out there who owe their fame and fortune merely to the casting couch networking the right people

Didn’t make it to the end...just didn’t sound like purp to me but then I’m a biased old curmudgeon from the made in Japan era

This hes sort of like Miles Davis... stellar improv skills and NEVER played a wrong note

Mine is an old matrix and as such is a complete dog because it’s been through so many basschatters since it came out of Colchester and is covered in small bumps and lumps - in some ways I prefer this to a pristine top end status because I can use it as a working gigging bass without worrying about it unnecessarily

its a status , should be fine, you could drive a bus over it

*Korean

i havent got a clue... i just turn up and play

[quote name='DorsetBlue' timestamp='1509984266' post='3403025'] My band played their second gig on Saturday night, our first paid one (previous one was for a charity). The actual gig went well and was well received, with the lady whose Wedding Anniversary it was (we play 50s and 60s R&R) thanking us at the end. The gig was a little hard work for the money though, as we were playing as part of an entertainment package along with the drummer's DJ sessions. So there was a lot of waiting around for our set and then a little afterwards, before we could pack away. All in all, we were there for 6 hours. I think we should probably concentrate on pub gigs from now on. The main lesson learnt though was.....don't leave your Helix turned on unattended (the DJ/Drummer put his kit on auto-pilot for a while). When we went in to get ready for our set, someone had fiddled with my settings (probably one of the lady's young grandchildren) and I just managed to get it back in a reasonable state (there is a foot switch still assigned to some unknown function - which seems to do nothing when pressed) ready to start the set. Last issue was the volume knob had been turned down - DOH! [/quote] we recently had a large barn gig and during the interval a rather hyperactive three year old took a shine to the drum kit so to keep him away from the guitars and keyboard our drummer sat him on the stool and gave him the sticks - he thrashed around for about two or three minutes but was an absolute natural and hit every single drum clean on the sweet spot

fine if you spend your time sitting in a luxury acoustically marvellous studio environment making technically excellent recordings in a venue with the rest of the band all honking away gradually cranking your master up to keep from being drowned out by the guitarist .... can you really tell? does it really matter?

ok putting this in here as seems most appropriate forum .... sooo.... our singist has one of those little white TC HELICON boxes, in theory and on paper it is a lovely little piece of kit - however in practice, especially in live gigging situation, it is an absolute f(*^@$%*&%^(@*ing nightmare has/does anybody a- have a singist who has managed to tame one of these little white devils? b- utilised alternative hardware to similar effect? TIA

[quote name='BigRedX' timestamp='1509444612' post='3398883'] It sounds a s though you have two separate and only slightly inter-related problems here. The nut should be glued in place to stop it from moving. The string tension should be sufficient to hold it in place most of the time, but anything that could potentially suck away some of the string vibration energy like the nut being loose and moving should be avoided. Secondly you need to wind the string right down to the bottom of the tuner post on the E and A strings to get the best possible break angle over the nut. This is why I don't like instruments with non-angled headstocks. Finally IMO the main reason for having a zero fret is to give a more even tone between the fretted and open strings. On a fretless bass ideally you would want the nut material to match that of the fingerboard. And as has been said the nut slots should be just above the surface of the fingerboard for the best action on a fretless. [/quote] off to get some decent glue i treated myself to a large radiused sanding block recently so will give it a light cosmetic clean up while at it too

[quote name='KiOgon' timestamp='1509440356' post='3398836'] A zero fret on a fretless would need to be practically zero height to get a decent setup. Not only pointless but technically it wouldn't still be fretless would it [/quote] i would havde thought it would be equivalent to the cut depth of the slots in the current nut no?? (which is not down flush with the board) must admit ti didnt sound flubby before the latest new string change so im guessing the most likely culprit is the string tension from the break angle not holding down the loose floating nut it wasnt originally loose it was very lightly glued down - the current nut is a new one which i had to get after i modified the original one to accomodate the larger guage of black nylons to try them - and then decided i didnt like them on this particular bass so had to get a new nut to go back to regular guage

anybody done one or converted? any reasons not to? my fretless vmJ has a 'loose' nut which just sits in the slot and slides out is this intentional to allow unencumbered fretboard dressing with a radiussed sanding block? could it be the cause of my flubby sounding open E (given that there is not much pressure from the break angle over the E) ? secondly ..... there is enough fretboard behind spare behind the nut to move it back 5mm or so and install a zero fret ? what are you thoughts fellow basschatters?