andydye

Here we go... Some tiny, unnamed, unmemorable, 'wasp in a bottle' farty 1x6 pointless fart-box combo that came with my first bass Marshall-Park 1x15 Combo (my first half decent amp, I loved that thing until I tried to gig it at which point I needed something bigger!) Marshall head (a real nice first big rig but a little too big for the car with the 2x15!) Marshall DBS 2x15 [I learned a lot about how to play inbetween these two amps!] Hartke HA3500 (Loved the sound until I heard the Eden stuff!) Hartke 4.5XL x2 Eden WTB800-B (Loved the sound - way too big and way too heavy though, nearly smashed one of my little boys feet when the head fell on him so it had to go!) Eden 210XLT Eden 410XLT Phil Jones Bass SixPack (Sounded good - bloody heavy for the size though! lacked a bit of valvey sparkle for me though) Genz Shuttle 9.0 (Sonic Nirvana! - light too) 2x Epifani UL112

a stunning piece of work! Congratulations matey!!

[quote name='Clarky' timestamp='1326915246' post='1503770'] You're just a teensy bit biased [/quote] He is right though ;-) Brian G at Epifani has really looked after me too so I can say they're great too!

I've heard really good things about the rest of the VM range so I can't imagine this one being a dud but I'd look for someone who's got one to chip in here...

[quote name='FrederikVanDuuren' timestamp='1326903276' post='1503493'] i would also checkout the Line6 DL4 Delay Modeler. [media]http://www.youtube.com/watch?v=uAokdNBBiA0[/media] [/quote] Hhmmm, I do have one of those for electric guitar 6 string noises and it's great for that, I rather fancied something cheaper and simpler that did proper analog rather than simulated like the line 6 which, while ok, still isn't quite the same...

Well pleased for you matey! hopefully Jon will be able to sort something out without you having to send it back what with you having finally got your mitts on it! In this modern age of sounds with clouds in them could we have some initial noodlings to demonstrate it's sonic majesty as well as some pics?

[quote name='voxpop' timestamp='1326806964' post='1502151'] update................ It will be with me tomorrow. [/quote] So that's today then? It's today now isn't it? [quote name='shizznit' timestamp='1326883828' post='1503109'] Is it there yet? Is it there yet? Is it there yet? Is it there yet? We're waiting with baited breath!! [/quote] What shizznit said!

I am sooo looking forward to seeing the finished article after all these snippets of gorgeousness!

My Epi UL112 pair sound amazing and I can carry one in each hand from the car to the gig! I tried the Aggie in the shop and bought the Epi instead...

I love my shuttle 9 and wish you much happiness!

pm'd

Does it need to be wireless? I've got a fischer wired system and it works really well...?

[quote name='louisthebass' timestamp='1326456799' post='1497392'] Andy, I don't think you read my response post below (response is in Blue text): Posted Yesterday, 09:21 AM [url="http://basschat.co.uk/index.php?app=forums&module=forums&section=findpost&pid=1495787"][/url]Conan, on 12 January 2012 - 08:49 AM, said: Isn't that slightly prejudiced? Are you implying that rock bassists need less theoretical knowledge than players of other styles of music? [color=#000080]I think you might have misinterpreted what I was saying - the more theory you know (IMO) the more tools you have at your disposal. John Myung (along with most or all of the members of Dream Theater) attended Berklee in Boston, and I wouldn't mind betting that he's got all his theory well & truly under his belt. The last line of my post might have implied that he didn't need to explore those scales, but if the OP wants to do it, more power to him. [/color] [/quote] Ah, oops! Sorry man! Apparently only Jordan Rudess completed the course, the others dropped out early on to spend more time on the band, they do have their stuff together though!

Certainly does look like a USA S-1 Jazz 5, the condition is 'well-used' for a 2005, lots of swirling and the fingerboard needs a really good clean! The bridge doesn't look right to me (not as chunky as the USA bass bridges from the ones I've had) and it's v tarnished! Where's it been living? Outside?? Have a look at the lacquer on the back of the neck as they do craze after a while if they're not kept in ideal conditions...

[quote name='Bilbo' timestamp='1326449042' post='1497266'] It's complicated. OF course you can get away with out any theory but my own experiences (and, I dare say, prejudices) would lead me to conclude that those without knowledge will always remain pretty lightweight and their outlook limited. There are historical exceptions, the occasional savant etc but, in the main, those without knowledge, play like they are without knowledge and those with it, play like they have it. Now there are those that will pounce on that sentence and suggest that 'feel' or 'groove' is more important than 'education' in our playing but my response would be to add that 'feel' or 'groove' are subject to music theory just as much as chords, scales and dots and understanding what makes a reggae groove different to a bossa nova is as important as whether a ninth if flattened or shrapened. All of this matters not a jot to some folk; I suspect Peter Hook is not reading Mark Levine's Jazz Theory book this morning and his bank balance is ambivalent to the oversight, but, to my mind and in my experience, there is so much music out there that is not available to those who limit themselves by remaining uninformed about the mechanics of music. I know a lot of theory (and am still learning at a pace) and I am not even a pro, never mind a wealthy celebrity bass player but, as I said, the knowledge I have increases the enjoyment I have from listening and playing music. I advocate learning theory simply because it adds to the fun of it. And it so opens the neck up! [/quote] This too! More eminent sense from Bilbo!

[quote name='louisthebass' timestamp='1326357177' post='1495778'] Have been following this thread with interest - would have to agree with those who have endorsed learning theory. I'd say learn your Major, Minor, Pentatonic, Blues, and Modal scales (and related arpeggios) and leave it at that if you're playing in a rock band. Judging by the fact you like Myung & Harris, there wouldn't be a lot of point exploring things like Harmonic / Melodic Minor or Whole Tone scales unless you feel the need to.. [/quote] Myung, no theory? Check out his tutorial vids on youtube, his theory knowledge and application is stratospheric! The short answer to this thread is...Yes! You need at least some theory to even know what a root note is if that's what you're going to hammer/pedal it in a punk manner... As has been said multiple times above, theory is musical grammar, helping you to shape phrases that will help you to express whatever you're trying to say. Even if you play solely by ear you're using theory (without necessarily knowing it!), if something sounds good, the reason it sounds good is that it conforms to some aspect of theoretical knowledge... I don't know loads of theory but I know enough to play relevant notes with respect to whatever chords are being used

That looks superb!

Brand new band, brand new stuff, going in cold, keep it simple first time out! real simple until you spot the groove then hang with the drums...same old stuff! Next time through you've a slight familiarity with the drummer and the material you can start to home in on sections where some sweet fills will make beautiful music! Jamerson and co not only knew their stuff but they played together in a garage/cellar/studio day in day out for years so they knew each other's style intimately, you've got none of the 'knowing the guys you're playing with' which brings ease to a new song...go easy on yourself, you got a great band by the sound of it and after a trial by fire you're still there aren't you! You've spotted a knowledge gap in yourself and that can be remedied, each time you go back you'll be a little better at playing with them and at playing the tunes.

I've had loads of 4's and 5's and have tried a variety of 6's in shops, I mostly play 5's for the range available and also the comfort, I find 4's tend to teel a bit small in my hand...I do take my EUB to gigs too which is a whole new feel and I do have a lovely '61 p-bass reissue which has a fat neck an dso doesn't feel overly wierd when I need to pull that out... Whatever's comfortable for you is, in this case, the right answer methinks! No two pair sof hands are the same, no-one has identical length arms etc etc yadda yadda, we're all built slightly differently. If we were all the same there'd be far fewer neck profiles on offer!

I had fender a while back, clean lovely, didn't like the break up when playing with slightly bluesy dirt, I then switched to a Marshall DSL50 which was great but sounded like everybody else so I had Martin at Martamp build me my Roadstar TT which is 18w of vintage Brit sound, a real cracker! More babies means downsizing the kit so it's got to go as I don't play it. I only got to use it a handful of times at most and it's sat unused for about 18 months until the other night when I fired it up and remembered why I'd had it built...alas still got to go :-(