dc2009

[quote name='Truckstop' post='1248386' date='May 28 2011, 04:17 PM']Surely just 6 Degrees of Inner Turbulance? Truckstop[/quote] Agreed, and am going to listen to it now, having that great reminder.

Great thought markstuk. Anyone else in SW London (earl's court - very accessible) or nearby? This is something I'd rather learn as a skill than just give to a shop every time, I'm also an impoverished student (largely because of GAS and low self-discipline) so would rather not splash out on a pro-set up. On another note, my Sansamp got here today, and oh my god I understand why everyone raves about the things, by far the best bit of kit I own, it blew me away. It even makes my playing sound better!

A mate of mine back at school picked up drums with a year and half left to go (of school), within 6 months he was good, within a year he was a fantastic drummer. Technically gifted, able to play paradiddles out of his ears etc etc, he started learning a lot later than many, and yet given he's probably bordering on the autistic side, he picked it up ridiculously quickly. I have another friend who happens to be a very good guitarist and drummer, yet I know other guitarists, just as skilled, but they're even worse than me at drums. I think there's definitely a natural aptitude for all sorts of these things, not convinced by this book at all.

Opeth's original version of black rose immortal + dream theater's a change of seasons should see you through 45 mins A change of seasons/The glass prison is actually a fairly good shout, if you can play a 6er

Dood that action is lower than kicking an old man in the balls! Who do you play for btw, I don't recognise the song, but quite liked it?

I've heard some fantastic singers live, but I think I'd have to go for: Vocals/Guitar - Steven Wilson (Porcupine Tree) Vocals/Lead Guitar - Mikael Akerfeldt (Opeth) Drums - For this kind of project I'd have to pick Chad Smith (his feel is amazing, and as for the sound - just go listen to stadium arcadium) Note if the project was heavier I'd have to recruit Marco Minneman/Gene Hoglan for the job. Bass - If not me then I'd have to let Steve DiGiorgio take charge on a fretless!

Nice amp those, for the money. I loved one when I tried it in the shop, would've got one in place of my half stack if I wasn't sick of combos. There's that one setting that gets you the ultimate David Ellefson/Megadeth tone. Perhaps not your cup of tea musically, but by far the best bass tone I've ever got out of an amp of this sort.

A very useful angle would be: If you were to buy one of these, which would it be. And ask the same question for buying two or three. I think this would be incredibly useful, as I have never even heard of anyone buying a full set of a brand's pedals, at least not in one go. So you could say for the average player, which single pedal would make the most difference to their sound quality and variety (choose the factors as you wish). Similarly, say that if you had the money to spend on only two/three (they aren't cheap), which ones you would then go for, this also may be different to buying just the 1 pedal, if perhaps 2 or 3 of them work particularly well in conjunction with each other. Hope this helps, Dan

I remember back when I got BGM, James LoMenzo put in a full diagram of his horrendously complicated live rig etc, some of them are proud of it. I'm sure various guys, especially now, really try hard to get a great tone (I'm thinking Tool here), but IMO it even begins with what bass you get, and what the electronics are. I'm sure some albums are done bass -> straight into desk. Man I cannot take my eyes off your avatar, who is she?

The red is a touch too pink for my liking, and not a fan of the shade so much, though the figuring of the quilt on the red bass is a fair bit nicer., However, I voted blue/green cos it looks the best overall (no one can see figuring from a distance or when playing a bass anyway) and is a bit more uncommon looking!

Hi all, This is borne out of the need to properly re-set up my Warwick, who had a low B put on her for the first time in a year today, but I thought I could make it vaguely useful and generic, and if someone could provide a comprehensive list it could even perhaps do with stickying? Personally, the problems on my Warwick are; Truss rod needs adjusting (I have the tool just no idea even which way to turn it or why I should or should not do it). Nut/Bridge needs adjusting. There is fret buzz from the B, especially when played open, despite the fact that the action is quite high at the bridge, as it does not fully sit right in the saddle as the others do. The intonation is out on a couple of the strings (not by much), which way do the thingies in the saddles need to be turned for various pitches? Is there anything that can be done to make the B sit properly in the saddle? So how do I do all/any of the above? I've been shown some of them at some point, but am aware that getting them wrong can make things worse rather than better. And in a more general sense, what are the other main things to look out for when setting up a bass, and is there a routine/order/method that you would describe as foolproof and also the best? Dan

Chops quite often, whether incorrectly or correctly, tend to be seen as the extremes of how you can play, not necessarily the fastest, but perhaps the most difficult in each style. I think a well-rounded player with good chops should be able to play a very fast piece well, if presented with it, but similarly, a very slow and flowing piece just as well.

I play slap in my bedroom and not on youtube (or live if I can help it though it has been used sparingly in some of my material I have written in bands of the past), I'm just not good enough at it. If I could double thumb like vic wooten, or had an american-sized ego and thought I could, I'd probably show off my chops to the world too. I have to say I'm not a fan of showing off for showing off's sake, on youtube or anywhere, although a drummer mate of mine did post up a very popular drums cover of Capillarian Crest by Mastodon, which he does play better than the average bear, so perhaps it's alright!

[quote name='skankdelvar' post='1246987' date='May 27 2011, 12:56 PM']There's a long tradition of distance selling / mail order in Germany which quite dwarfs the equivalent British market. Bertelsmann (BMG), who are one of the world's biggest media companies (102,000 employees) started out in mail order in 1835. Thomann have been in business since 1954 and have presumably developed considerable experience at flogging things to people through the post. For them, the web must have been a [i]fantastic [/i]opportunity to expand their existing skills and customer base. By contrast, the web has been a very steep learning curve for British retailers. Many conduct their operations in an atmosphere of slip-shod craftiness. For others, their website is simply a static calling-card and thus fairly useless after the first visit. For still other guitar-shopkeepers, the interweb is an occult threat to be feared and reviled. Only a couple of years ago, I got a ferocious ear-bashing from a retailer when I mentioned I'd bought an amp online. And there's the problem. Rather than explore the possibilities, he'd rather stick his head in the sand and give his customers a bollocking for not doing things his way. And that's a very British thing to do.[/quote] Gotta love that German efficiency. As for buying online, I see nothing wrong with it. How many people on here buy a bass online simply on the name, or even moreso, get one made by a guy via the internet, and they just assume it's going to turn out as well as others he's made! Personally I know once I build up some money from summer work I'm planning on buying a Sandberg or a Gibson TB, and that's almost certainly gonna be over the interweb. My entire current amplification rig (in my signature) was bought on ebay/here without previous samples. I seriously hope Thomann get themselves a single UK warehouse and also have a come and try facility. I guess it raises the overheads somewhat, but I think they would sell a lot with their great prices!

[quote name='xgsjx' post='1245032' date='May 25 2011, 11:58 PM'][url="http://basschat.co.uk/index.php?s=&showtopic=72012&view=findpost&p=1158667"]Here![/url] I'm also using chorus, overdrive & some filtering but the exp pedal is controlling the LPF. There's quite a few great examples throughout this thread, so go & have a listen to everything.[/quote] o.O those are some neat dirty tones. Those moogs don't come cheap from what I've seen. I have Si's syb-5 coming soon and an expression pedal, that will hopefully work with it, so I'll start experimenting too Gotta say, for an octaver, I quite fancy the look of a 4ms nocto loco, anyone on here got one/know how well they work with bass? (only seen guitar demos)

Crafter Cruiser MM copy, still have it, with a set of steve harris sig flats on it, not that it's been played in about 5 years. Heavy as anything, seriously, seriously heavy, no idea how I ever gigged with it when I was a tender 14.

Bit off the radar of some of you have a decent music taste, unlike me, but I would say ...And Justice For All (the metallica album) seriously suffers from having the bass so far down in the mix it is inaudible even if you listen for it!

[quote name='pantherairsoft' post='1244586' date='May 25 2011, 06:32 PM']In the words of DanOwens... As an electronic bassist, the Low Pass Filters is your best friend. Low Pass Filters (or LPFs) serve many practical functions but the way they work is they let the ‘Low’ sounds ‘Pass’ through it. That is – they remove the high sounds from your signal. At which point in the audio spectrum they do this depends on the filter’s cut-off point, determined by the ‘Cut-off’ control. The ‘Resonance’ control creates a boost at the cut-off point, making it more pronounced. If the LPF is your best friend, the ‘Resonance’ control is their bad breath. Watch out!! We’re going to use the LPF in two main ways: the first is to create a static, ‘sub’ sound. If we ‘close’ the filter so it only lets very low frequencies pass and boost the resonance a bit, we are effectively turning the treble and middle knobs on our amp right down to 0 (or -15db as is more commonly found) and turning the bass control on our amp up to 10 (or +15db). This is the sound that will shake glasses off shelves and irritate neighbours 4 streets away. We like this! Remember to be careful of that resonance control though. Turning it up too high will be like turning the bass control up to 20 or 30 and can totally annihilate speakers, PAs and eardrums. The second use of the LPF is to create filter sweeps. This is where we move the filter cut-off point across the audio spectrum creating a wah-wah like effect (but one that doesn’t sound rubbish). You could sweep the cut-off over an 8-bar build or across single notes, the best thing to do it experiment. To do this though, you need to be able to move the filter cut-off whilst playing your bass with your hands. As such the sweep is usually done via an expression pedal operated by your foot.[/quote] Thanks for the explanation. I could create the static part of the sound via the 12 band eq on my trace head, or is this kind of thing only achievable through pedals? Being a london man I won't make it up to nottingham, but let me know if you play your wobble live down this way anytime!

Whilst I would agree with the principle of if it sounds good, I don't care either way, but many a time I've seen a band play live or heard music of a band playing without one, it often sounds odd or not quite right if the bass isn't there imo.

[quote name='phil.i.stein' post='1244555' date='May 25 2011, 05:57 PM']you can have my syb-5 for £45 posted if you like. i've got too much synthage at the moment, so it's surplus for me. PM me if you fancy it. i'd be looking for an LPF of some description, like the moog or the iron ether xerograph (or the deluxe for extra bucks)..[/quote] PM'd, what's the main aim of a LPF and what can it do for your sound?

I'm sure someone has seen my desire for an expression pedal and an syb 5, i've also currently got: boss odb-3 ehx bass balls (russian) ehx q-tron plus envelope filter (usa) boss ceb-3 i'm currently after an ehx russian big muff as well as the boss synth is there anything else i should be looking for in order to play qemists like stuff as the thread starter was on about, and dubstep wobbles in general?

[quote name='Gareth Hughes' post='1241493' date='May 23 2011, 12:54 PM']The Boss CEB-3 is a classic - and yep, I'm selling one [url="http://basschat.co.uk/index.php?showtopic=134212"]http://basschat.co.uk/index.php?showtopic=134212[/url][/quote] Can't go wrong with that one, less than what I paid for mine