tauzero

[quote name='TimR' timestamp='1456501890' post='2989734'] Guy Pratt plays a 5-String on Pulse. In comfortably numb he has gratutitously overused the bottom string. Don't know what note it is but all the chords and the melody line ascends - giving the song a lift, while the bass note tries to drag the song down. That's not an accidental wrong note, that's a bad choice. IMO. [/quote] It differs from the original in two places, I think - in the first instrumental he goes from low B to the A G F# E run down, and in the choruses, the second time through the D A D A he plays the low rather than the high D. The bit in the instrumental sounds wrong to me, I can see the logic of what he's doing in the chorus though as in that part the melody rises from D to A rather than falling.

That's a shame about Joe, he did a great piece of work for me defretting and reprofiling a 2000 (fatneck) Warwick Thumb to the same neck profile as my JD Thumb.

I use a Zoom MS-60B with the BassPitch effect (I think) which gives a pretty effective octave up, slightly dirty, useful for things like "Riverboat song" and "I love rock and roll".

[quote name='Lw.' timestamp='1456316118' post='2987685'] I don't personally know any bassists that think class-D sounds better than traditional amps but I do know a lot that use them. [/quote] I think my class-D Tecamp Puma and lightweight Berg 1x12s sound a bloody sight better than any of the heavyweight gear I've had - which has been Laney and Trace Elliot. And I have never had any desire whatsoever to have a valve bass amp.

[quote name='seashell' timestamp='1456446546' post='2989230'] I believe it was Lemmy who said 'If it's too loud you're too old'. :-) [/quote] Ted Nugent, actually. Who used to wear earplugs on stage.

When I had a listen to the isolated bass track for "The Seeker", I realised that not only had I been playing it wrong, but that every single tab and instructional video is also wrong. So now I feel smug because I'm playing it right...

I use chorus on everything.

It's easy for you youngsters, there's rather less around from 1957 (excluding Fenders, as I do) - Danelectro hadn't started doing basses. It looks like Hofner were doing some rather nice archtops like the President. Or there's a Rick 4000, or a Gibson EB-1. Oh, and the Kay Jazz Special.

"For God's sake don't sing".

The first video was technically impressive, although I'm another one who wasn't keen on the tone - while the first part was about pyrotechnics rather than feeling, I thought the section from 2:00 had quite a bit of expression.

I've rather fancied a Poseidon since I first saw one, and when Bassmachine put one up for sale or trade and showed signs of liking both Warwicks and the unusual, we were able to sort out an exchange for my Buzzard and a bit of money. After something of a comedy of errors at my end getting boxes sorting out and then a postal strike in Greece affecting movement at that end, we've finally finished up with respective basses at their intended destinations. And this is the happy owner of the Esh: Very comfortable neck, good sound from the magnetic pickups. Not so sure about the piezo but I have yet to put it through a rig. First outing will be on Friday at a local gig.

[quote name='geofio' timestamp='1456094753' post='2985403'] Would not use a pc for recording , Mac is the only way to go for serious recording, there are always issues with pc been there done that. no matter the power of the pc/lapotop they just don't hack it for multitrack recording don.t waste your money on a pc is my 20 years recording music advice!!!! [/quote] I've been in three recording studios in the last five or so years, all were using Windows PCs.

It might seem somewhat counterintuitive but have you considered a narrow-necked 5-string or stringing a 4-string BEAD? You can shift your fretting hand up 5 frets that way, reducing stretch and possibly putting it in a more relaxed position.

[quote name='chris_b' timestamp='1455805588' post='2982596'] I had a guitarist start a regular number (I think it was Amazing Grace) in 4/4 rather than the usual 3/4. We were a duo so the train wreck was total!! [/quote] On a tangent, I was once on a cross-channel ferry where Sid and Doris Bonkers were playing in the lounge on keyboards and guitar with a drum machine. I'm not sure that they'd entirely got the hang of programming it because they did "Delilah" in 4/4.

[quote name='rushbo' timestamp='1456073416' post='2985117'] Come to Halesowen, where everyone knows someone who knows someone whose dad used to go to school with Robert Plant. Or Glenn Tipton. [/quote] Bill Oddie used to go to Lapal Primary School and Halesowen Grammar School.

I bought two Trace Elliot amps. I bought the second one because I'd forgotten why I sold the first one. Now I've sold both of them, I'm hoping I'll remember not to buy any more.

It means I don't get pestered by all those annoying groupies.

Mike

My grandfather came from Liverpool. My mother-in-law comes from Liverpool. My brother-in-law comes from Liverpool. My former brother-in-law comes from Liverpool. None of them have ever mentioned the Beatles in my presence.

[quote name='Bigwan' timestamp='1455795173' post='2982458'] Apologies for the rushed nature of this - just hacked a few old schematics I had together to give you the gist of the thing... [attachment=212628:for dood.jpg] The 11k+Vr2 and 5.6k+Vr1 are a standard resistor in series (therefore setting the minimum value) with one half of a ganged/stereo pot as each filter needs 2 values to be changed equally at the same time. [/quote] IIRC that gives a 12dB/octave rolloff for both HPF and LPF - you can simply cascade two identical filters to give a 24dB/octave roll-off which might be better, at least for the HPF if you're looking at thump elimination.

No, if the level gets too high it'll just clip and sound nasty. Within reason, of course, don't go putting a speaker output into it...

Only the cream of the crop this time though.

This could keep on going till the cows come home. Quite a harrowing experience, really.

[quote name='colgraff' timestamp='1455885769' post='2983285'] I remember when doing Boolean Algebra at college and we all had to produce a hypothesis and proof for a seminar, a cleverclogs chap in my class produce a very funny hypothesis that read something like: lennon AND McCartney > lennon NAND McCartney BECAUSE lennon AND McCartney = penny lane BUT lennon NAND McCartney = happy Christmas war is over + wonderful Christmastime. There was much more to it than this and the algebra was expressed correctly, unlike my version here. [/quote] XOR rather than NAND, surely? lennon.!mccartney + !lennon.mccartney

[quote name='Osiris' timestamp='1455108448' post='2975935'] Dood, I always set the amp input gain so that it's just below the point where the pre-amp clips when I really dig in (I was under the impression this is the optimum setting?). With that in mind, if the B3 is in-line between the bass and amp, then presumably and effects that boost the signal, like a drive setting, will also clip the pre-amp? I didn't realise that fx loops have a stronger signal. Any reason for that? Surely they are optimised to work with all fx units (am I right in thinking that the implication is that some units work on different signal levels???) [/quote] As Dood says, the fx loop operates at a higher signal level - 1V peak-to-peak is the reference level, whereas a bass will typically output 150mV peak to peak. That's so that power amps and rackmount gear all have a consistent level to operate at rather than having to cater for a wide range of input levels, it's just the preamp (and effects pedals) that deal with the lower level signals. Raising the signal level up to 1V peak to peak means that noise becomes less of a problem as if you have a bit of noise of a few mV, it'll be much more significant with a lower level signal than a higher level one. Having tried a B3 in an fx loop myself, I can say that it wasn't happy.