tauzero

[quote name='discreet' timestamp='1435690438' post='2811546'] When I think of Yes I think of Chris Squire. 'Twas ever thus, even before I took up bass. Yes without Squire would be like chips without, er... Fish. [/quote] When I think of Yes, I think of Anderson, Howe, and Wakeman. Always have, always will.

[quote name='jacko' timestamp='1435667784' post='2811149'] if all your curry house customers went in and complained I'm sure they'd pay attention. (or go out of business) [/quote] Complaining that they no longer have Chris Squire is unlikely to result in his resurrection. The powers of Basschat members have certain limits.

[quote name='Mykesbass' timestamp='1435608842' post='2810622'] Part of my thinking was to do a slightly more sophisticated poll, perhaps a couple of rounds to whittle them down, and the fact it would be voted for by bass players should have given it a bit more authority than the one that cropped up this week. Still, it seems I misjudged other people's interest in such a poll. [/quote] But why should bassists have any more authority than anyone else in judging who's a good bassist? Mind you, I do agree that pretty much everyone on Basschat will consider themselves uniquely qualified to judge who the best bassists are, and in my case it's obviously true.

[quote name='jazzyvee' timestamp='1435336849' post='2807899']I wonder if classical orchestra musicians carry backup instruments? [/quote] Classical orchestras carry backup musicians plus instruments. String quartets have more of a problem.

[quote name='mrtcat' timestamp='1435598157' post='2810435'] why not just change the plug on the end of your cable to suit the cab? Costs no more than a couple of quid for a speakon connector and they are usually screw terminals so no solder required. [/quote] For a similar reason to the one where I take two basses to gigs instead of taking a notlob bass with fretted and fretless necks.

[quote name='cheddatom' timestamp='1435659274' post='2810996'] I've had the same problem, just made the change, but it's still underlining my british spellings in red. Nevermind [/quote] You might need to restart your browser. Failing that, double check your spelling with Chambers.

It's a gig. I never treat an audience with contempt (well, almost never) and see every gig as having the potential to spawn more. I don't start artificially trying to gee up my fellow band members, we all approach gigs with as much of a professional attitude as any band that carries their own gear does.

[quote name='discreet' timestamp='1435656121' post='2810942'] Please join my campaign to ignore the US spellchecker we seem to have on this forum. How hard would it be to have a UK one fitted?? [/quote] ITYF that the smellchecker is at your end, not BC's. Check what dictionary you have loaded in your browser.

[quote name='Bassassin' timestamp='1435486714' post='2809153'] In this age of plastcised, autotuned, lip-syncing talent-show R&B divas, it's heartening that a woman who sounds & looks the way she does can achieve the level of success that she has. [/quote] Like Susan Boyle but without the talent? Didn't see her this time round but I've seen televised appearances by her before and she's seemingly incapable of carrying a tune in a bucket. Incidentally, I'm not sure that the primary purpose of autotune is pitch correction these days. It seems to be more the vocal effect du jour, like guitarists have been using distortion for the last 50 years. One can only hope that, like the 80s gated reverbed snare, it lasts no more than a decade or two.

I'm not sure what the point is. All that happens when someone produces a list of so many greatest somethings is that lots more people ask why x is on the list, why y isn't on the list, and why a is ranked higher than b.

Jack to speakon leads are easily available. I keep a couple in case I ever need to connect my cabs to someone else's head or vice versa.

There's an article on the reasons behind the value of pots affecting the tone here: [url="http://www.seymourduncan.com/blog/tips-and-tricks/250k-pots-versus-500k-pots-going-deeper-into-the-subject/"]http://www.seymourduncan.com/blog/tips-and-tricks/250k-pots-versus-500k-pots-going-deeper-into-the-subject/[/url] and very interesting it is too.

[quote name='Mornats' timestamp='1435095174' post='2805505'] The destruction of the memory cards clause seemed harsh to me. Enforcing the removal of the images is one thing, but some photographers buy very high-end memory cards and record images to two separate cards inside the camera. You could be talking a few hundred quid just for those cards. I know the photographer here would have broken the contract but it still seems rather heavy-handed. [/quote] I agree it seems rather OTT, but also it's hardly going to be used unless the photographer has breached the bit about where he can go and what he can photograph. After all, if he subsequently sells the images on without permission, they're not going to still be on those memory cards, so that clause is irrelevant. I'm not saying that it isn't a poor agreement. I think it is poor. What I was saying is that it isn't anything like an exact parallel to the Apple situation.

I take a spare bass - if I'm not taking two main basses, I'll stick the Hohner B2AV in the car. A bass is a bass, I can happily play anything in our set with either a fretted or a fretless bass (although I do prefer fretless for a couple of songs) so I can use anything for backup. I've also got a backup bass amp (small and lives under the passenger seat of the car) and I use two 1x12s, plus I've got a few spare leads in case the wireless or some other lead packs up.

Duck Dunn and Bill Withers collaborated on an invention to indicate when a waterfowl was sufficiently cooked.

If you've taken a financial hit from this (and it sounds like you have), it could be worth trying to reclaim it via the small claims court.

[quote name='DiceSociety' timestamp='1433330698' post='2790122'] I may be wrong about this, but the room acoustics and where you're standing in relation to the speaker could well have a massive bearing on the sound you're hearing (I'm sure the bods at barefaced will correct me if I'm wrong). My understanding is that lower frequencies have longer wave forms, and therefore it takes more distance from the speaker for the lows to reach their fundamental frequency; so if you're standing 20 feet away from the cab (as an audience member in a pub may be for example), you'll perceive more bass than if you're standing 6 feet away from the cab. Assuming the cabs you're using are capable of reproducing the fundamental frequency. It's probably worth standing as far from the cab as you're lead will allow when doing a comparison to give enough distance for the low frequencies to establish themselves. Apologies for my lack of scientific rigour, it's possible that I'm completely wrong about this [/quote] I don't know if it's worth saying that you're partially wrong about this because it risks skating near the thin ice of the "I know better than you" technical brigade that Jennie is so opposed to, but the stuff about establishing waveforms is rubbish. Sound is a compression wave that starts at the speaker and finishes, as far as you're concerned, at your ear. The intervening distance for that direct sound serves only to diminish its intensity. The stuff about room acoustics isn't rubbish, That's because a room is almost invariably a less than ideal shape with little resonant chambers here and there, and with different acoustic characteristics in terms of which frequencies will get absorbed or reflected - some of that is pretty much unchanging (curtains, furniture), some will vary through the evening (people, of which one would hope there would be more than zero). Sound travels both by a direct and by an infinite number of indirect routes to your ear, and it's those indirect routes that are the problem. So having a wander out to listen out the front is a very good idea. You can find, for example, that the sound on stage is very boomy and bassy, but out front it's quite thin and middy (and then the guitarist will whinge at you that it's all boomy, and you can tell him it's because he insisted on you going in the corner - sorry, rantette over).

[quote name='Jenny_Innie' timestamp='1433344007' post='2790295'] You think I dance my way into the middle of the crowd on occasion with my upright bass? [/quote] If it's good enough for Tony Levin...

[quote name='skej21' timestamp='1435131047' post='2805658'] Build guitars based on an established heritage and by listening to what the consumer wants? Ok... http://www.guitarplayer.com/gear/1012/-gibson-unveils-2-million-eden-of-coronet-diamond-guitar/51396 [/quote] My word, that's hideous. Two million dollars worth of utter tastelessness. Does Lewis Hamilton play guitar by any chance?

[quote name='chris_b' timestamp='1432981408' post='2786719'] Mert, I'm not sure I'd get away with basses on the living room wall. You're much braver than me to try that one on. [/quote] Mrs Zero loves the seven basses adorning our walls...

Get one of the other bassists who isn't feeling so precious about it to do it instead? It's a song in a different key. No-one dies. As an aside, we shifted "Midnight Hour" quite a long way for Mrs Zero, from E to B. I pitch-shifted the track in Audacity for practice purposes. It sounds like Pinky and Perky. Excellent.

[quote name='TimR' timestamp='1434813365' post='2803025'] It's all in the fingers. That's where the sound is created and if the sound coming from the way you strike the strings isn't right you cannot fix it with strings, pickups, tone woods, FX, special leads, amplifiers or speakers. You can dramatically change the sound coming from the gear just by changing one small aspect of how you strike the strings. [/quote] A little while ago, I went to see Janek Gwizdala at the Academy of Sound in Stoke. He was playing his Fodera through TC gear, something like a RH450 and brace of 2x10s. The sound of the combination of bass, amp, speakers, and player made the words "glassy" and "brittle" come to mind - I think because there was a lot of detail in the upper frequencies. Then, at the Moffat Bass Bash earlier this year, there was a Fodera (I've forgotten the owner's name, despite, or perhaps because of, spending several hours chatting to him over drinks at the local pub). I had a play on that, listening through headphones via an amp whose identity I also don't recall, and the combination of player, bass, amp, and headphones produced a pretty much identical tone. So I can only conclude that I'm Janek Gwizdala's twin.

[quote name='Mornats' timestamp='1435092072' post='2805455'] Apparently there's a lovely new clause in the photography contract. If you break the rules of the contract Taylor Swift's management are allowed to break your gear. Although having read it, it seems to refer to the memory cards and any other storage device the images are kept on rather than your camera and lenses. [url="http://petapixel.com/2015/06/23/taylor-swift-photo-contract-break-our-rules-and-we-can-break-your-gear/"]http://petapixel.com...reak-your-gear/[/url] [/quote] Well, I can't see that being of relevance except to section 1, which says what the limitations are on the photography - no flash, no sneaking round backstage, etc. It would be pretty stupid to destroy a memory card after the photos had been downloaded from it and then put in the cloud. And no-one's mentioned the bit that says "Without written consent from FEI or the artist and/or her authorised agent(s), the photographs will not be duplicated...", which to my razor-sharp mind, implies that if the photographer were to say "Can I sell the photos to The Sun?" to FEI/Taylor Swift/her agent then they might well say "Yes". The time for him to start whinging is when they say "No".

Presumably it's inadvisable to keep your bass in the fridge as it'll become difficult to spread. Unless it's utterly butterly, of course.

[quote name='CamdenRob' timestamp='1434532729' post='2800430'] wow a clip on tuner that actually works... [/quote] Oh no it doesn't.