Sparky

Woah ha! Hot tip to look in our the BC market place cheddatom - hadn't even thought about it. anyway, did a quick search for Tascam in the forum and a few results came up... i'm sure this wasn't the one you were refering to (i rekon you saw the 4 track? i saw that too when it came up) but this one's really caught my eye - never mind the functions - check out the mojo on this little 80's esq bad boy!!! [url="http://basschat.co.uk/index.php?showtopic=10829&hl=Tascam"]http://basschat.co.uk/index.php?showtopic=...9&hl=Tascam[/url] i might put in a PM...

just found this under the iTalk's FAQ's: [i]The Griffin iTalk is not fully compatible with the 3rd Gen Nano and the iPod Classic, but it will work. It will still record like normal, but the usual iTalk sub screen will not show on the latest iPod screens. The only thing you miss by not having this sub screen is the ability to choose your Gain setting.[/i] DOH!!!

The [url="http://www.griffintechnology.com/products/italkpro"]Griffin iTalk Pro[/url] is the only one of these iPod mics (there are quite a few on the market - just google 'iPod Microphone') that I've seen with adjustable gain settings. There is also an minijack input for an external mic - which could be pretty handy if the adaptor's built in "twin built-in" mics are poor? Shame it's not compatible with my either of my ipods (3rd gen & 6th gen)... think i'll wait for another one to be released with these two features. the speil from the above link: [i]iTalk's twin built-in mics record directly to your iPod, and adjustable gain settings give you control over the volume. You can even use external microphones with iTalk Pro. Just plug your mic into the 3.5mm jack on the bottom of iTalk Pro. Note that some microphones require their own, separate power source (sometimes referred to as "phantom power"). To use such a mic with iTalk Pro, simply plug it into iTalk Pro through an appropriate pre-amp.[/i]

nice one cheddatom. thanks for the input. hmm, digital dictaphone - had not considered that. just had a quick scootch on t'interweb and they start at around £25. could be a possible alternative to the ipod mic. saying that, i guess the two options are effectively the same thing? i do carry my ipod pretty much everywhere, but rarely have an instrument handy whilst in transit.. so this is just for home, band practice and pissing about with round my bandmate's houses. i think the deciding factor here is gonna be mic quality. it'd be handy to be able to control the gain.. so i can use it to make half decent recordings of a quiet soprano ukulele or at full blown electric band practice with loud drums, amps and p.a. i've seen one ipod adaptor that you can control the gain on, but they've not yet released if for 6th generation ipods... think i'll be keeping an eye out for this. in the mean while, i'll look out for a decent dictaphone with any useful features. anyway, thanks again cheddatom. keep em coming folks - anyone used an ipod mic adaptor or digital dictaphone to record band practice or acoustic messin' at home? cheers, sparky

hi all. any suggestions welcome. but am considering the following options: [u]1. Second hand, old school, cassette tape, analog 4 track[/u]. ebay's banned at work so am yet to see what's on offer in the bargain bin price bracket. [b]Pros[/b] - will be able to lay down multiple instruments and make horrible sounding home demos... [b]Cons[/b] - bad home demos may destroy my soul. will have to learn how to use it. may work out more expensive with accessories ie. mics & leads. will have to set it up and put it away, so may not be conducive to capturing spontaneous ideas. will undoubtedly zap even more of my time fiddling with useless gadgets.. [u]2. Dictaphone style tape recorder[/u]. Can get one new for £20. [b]Pros[/b] - fool proof operating. compact. no need to set up and put away. quick to record, then post to colaborating musician friends. will zap less time messing around with it - all i'd have to do is get it out of the cupboard, press play and record together and perform my ideas... [b]Cons[/b] - no scope for recording anything other than acoustic guitar / uke ideas (but really, this is all i need it for) [u]3. Mic adaptor for my ipod[/u]. £20-30 [b]Pros[/b] - (potentially)fool proof operating. compact - no need to set up and put away. quick to record, then EMAIL to colaborating musician friends. Scope for recording ideas on a single instrument, uploading them into p.c. getting hold of some cheap mixing software (any suggestions - like the most basic of basic.. free if poss?!!) to open up multi-track capabilities??? DOES THIS EXIST? WILL THIS WORK???!!! [b]Cons[/b] - might be sh*t and not work/break (electrical goods paranoia). if the multi-track software thing becomes reality, this will probably be the worst zapper of time fiddling with useless gadgets. so.. i guess options 2 & 3 are the main runners. just wondering what people thought or if anyone has and can recommend a very cheap setup that they use just to record rough song ideas (mainly on acoustic guitar and ukulele (neither of which have built in pickup)). Especially interested in whether the multi-track facets of opt.3 could become reality? This could open up a whole new world of working remotely with my buddies (i currently live far away from all my musician friends). ok thanks very much for your time. sparky

ya, fair play 2wheeler... i've been playing with the same guys (my long term band) for so long, i'd brick it playing with anyone else... let alone an impromptu jam infront of an audience... good work, keep it up; i'm sure you'll become a much better player for it... word.

Just bought a couple of bits from Jase - gig bag & pickguard. Nice bloke to deal with and very fair - good prices for both items and offered a 'try before you buy' for the plate without me even asking - very generous. Items arrived promptly (posted within a day of agreeing the sale) and nicely packaged. All round good experience. Recommended. Regards, Sparky.

Hi Everyone. Have recently been wondering about the ergonomics of my P bass neck. I played an ollld vintage precision (over a good few sessions) a while back and i'm sure that the tres joyful playing experience was due largely to my perceived 'roundness' of the neck - like the fret corners had been worn from years of people playing it. Just wondering if this is likely to have been the case? Or whether it was actually down to a luthier filing the edges until they were all sweet (or to the player's requirements at the time). I'm curious to know if mine will wear in the same natural way. Also, I'm interested about different types of fret... I think mine are Jumbo - I'm just assuming that because they feel big in comparisson to my Jazz (which is 12 years old. the P is new). How many types of fret size are there? (primarily interested in fenders but whatever - don't intend to restrict discussion). What do people prefer? Do people like to be able to feel the frets with the insides of their fingers and thumb as they move along the neck?? How do the different sizes/types affect the sound as well as the playability / feel of the neck? Just a discussion starter really - The neck on my P feels real nice already but i'm just curious.. I can still remember how that vintage fender felt and although i'm reluctant to admit it, I do have a hankering for that touch again! Regards, Sparky.

ya, i've come accross mr.DK's vids - he's awesome. great sound recordings and great sounding basses. his 77 stingray is the Schnizzle! [quote]yeah not bad, nothing that makes me go 'ooooooh!'[/quote] really???!!! i rekon he's the nuts - tasteful, skillful, stylish And generous for posting up lessons for (as Zapp mentioned) players of all levels. think you're right about the spare time though - that pad looks like a batchelor's apartment!

eazzynow beedster! glad you're on the mend and back on the forum. will have to pick your brains soon about waxing/oiling the ash... everytime i gig, i get more and more paranoid about the 'sweat+T-shirt=stained grain' equation!

+1 for opt 2

i've just caught up with this thread.. it's amazing how good it feels to be complimented by someone saying they gas for Your bass - cheers paul,the! i generally only gas for basses up for sale... right now, [url="http://basschat.co.uk/index.php?showtopic=13829"]HiperiOn's '79 Stingray[/url]... My tastes are pretty simple and IMO that bass is just beautiful - love the burst, love the tort, love how everything on that bass looks. wouldn't have any doubts that it sounds and plays great too, no? also, to mix it up a little, I like the look of Mr.Russ' GK/MarkBass rig... How come the 'show us your rig' thread isn't at least pinned? I enjoy rig porn almost as much as that of the bass variety...

ya, i like your playing too...

[quote name='queenofthedepths' post='142150' date='Feb 17 2008, 09:36 PM']Am I the only person who thinks that looks the shizzle as it is??[/quote] 'Shizzle' is such a cool word.. put an 'n' in it and it becomes 'Shnizzle' which is even better... i'd go with Hampster - "Pearloid - aged, cream or smoke"

[i]"I have a photocopy of the original Union contract from the "Reach Out" session. It's dated July 6, 1966 (the year of the tune's release), it lists James Jamerson as the bassist (for which he received the princely sum of $61.00)..."[/i] madness!!!

fantastic article hamster. seriously fishy huh?!! i guess the evidence speaks for itself but you gotta admit, it Does seem strange for an artist of kaye's caliber to be making false claims about her work - especially if she's contradicting her own logs... ah well, who knows - 60's detroit seems a world away... intersting stuff.

is carole kaye the lady who did or didn't play on stevie wonder's 'i was made to love her'? i don't know the full story (or indeed anything about either party) but i struggle to understand how that argument exists? surely Someone could have clarified who's bass track was used? the engineer? the other musicians? maybe even Stevie Wonder??!!! whoever played it, it's a cool bassline.. i might check out that mag, thanks for the heads-up OG. sparky

we wanted our album artwork/packaging to be printed on that earthy/brown/recycled card stuff but it worked out like twice the price of a regular jewel case + gloss paper booklet... our label wouldn't put up the money... a real shame - it would have looked sweet. sorry, can't offer any hard info or advice - our label and design guy sorted it all out without our input... i'll e-mail ahead and see if i can get some more info for you... maybe you'll have better luck

[quote name='paul, the' post='130176' date='Jan 29 2008, 05:31 PM']That P is gorguoouous! makes up for the red tort on the Jazz [/quote] Haha - cheeky swine! The tort is stock but now that you mention it, i was thinking of treating the jazz to a black plate (after seeing some nice pics of a burst/black jazz for sale (i think from 'weird war') a while back)... and then never got round to it... i think at some point i'll pick up a tort for the P and a black for the jazz... give them an optional change of clothes.. be like having a ready to rock gas hit without the cash!

i know more or less the kit i'd like to own - the list is (relitively) short and simple. i'm lucky i can't afford things quickly so the 'thrill of the chase' will be longwinded and leisurley and when i do make the acquisitions they'll be very special. all this business Does make me happy

Chaps, what's the craic if my open, fretted 12th and 12th harmonic are all sweet, but then some frets around the 7th are out? i've Always found myself having to tweek the tuning when playing in B... i'm still adjusting (slowly - tiny tweeks every other day) everything on my new bass so haven't quite settled on saddle height and neck relief so i guess these may change - but when i finally do find the right balance, can you offer any other general rules of thumb for intonation other than the open & 12th fretted & harmonic? cheers, sparky.

Excuse my ignorance (i've not played many basses) but i'm curious - When people talk about a bass 'playing nicely' - what are they refering to? (if action is a personal preference)... in my naivety i always assumed it was prefereable to have a low action because it makes the bass easier to play. obviously that isn't the case. i can get my head around the physics of a bass needing to balance, but what other factors make a bass 'play nice'... or 'not play nice'? ...i also assume this isn't anything to do with sound of the instrument?

It's a great cab! When I bought it from Macari's on Charing Cross Rd (all those years ago ) the geezer told me it used to belong to the bass player from Skunk Anaise (or however you spell it)... I took that with a pinch of salt but bought it anyway (plus 3500 head)! just a useless bit of history for you! Congrats on a fat setup anyway! I had the 4.5 paired with a 210xl for one gig (before i had to sell it) and it was freakin' fantastic!!! have fun, sparky.