Linus27

1 minute ago, Al Krow said:

 

What's the best way of getting that double track sound in a live setting? Is it easily do-able?

I'm thinking a multi fx with parallel paths may be simplest solution in terms of moving parts? Or perhaps a signal splitter back into a mini mixer?

But don't know if that's going to do much more than having a drive pedal with a good clean blend?

To be honest I really don't know as I haven't tried, I've only ever double tracked in a studio setting but I don't think you are far wrong with what you are thinking and splitting the channel.

An absolutely fantastic track. I'm not really a Prince fan but I love this track (Simple Minds also do an awesome cover) as well as the Purple Rain album, Girls and Boys, If I was Your Girlfriend and Sexy MF, all brilliant tracks.

I have thickened my sound up in the past by adding a smidge of Octave and a smidge of drive. It doesn't need much, otherwise it sounds affected but just a bit of each will thicken the sound. Its also a very common recording technique to double track the bass and leave one clean and the second with a bit of drive to make a lovely warm, thick tone. I was shown this back in the late 90's by Mark Wallis who recorded It Bites, Travis, U2, Primitives albums etc. and have recorded this way ever since. Sting also did it in the Police but he doubled up with an electric bass and a double bass. More recently, I recorded with a fretless Precision with flats and then double tracked with a fretless Jazz with rounds. Created a nice kind of cello sound. So a smidge of Octave and a smidge of drive will add a nice thickness to your tone.

Any fretless bass that has a lined fretboard

Rickenbacker's

Single Cut Basses

Danelectro Longhorn

Fan Fretted Basses

Anything pointy like Jackson's, Hamer etc.

Just don't get a fretless, it's so much more prone and noticeable on a fretless. My fretless Fender Precision and Stingray both have it but my fretless Jazz and maple neck Precision don't. Interesting that the two necks that don't were both custom made necks by Jon Shuker. A fretless Ibanez Musician that I'm borrowing also doesn't.

30 minutes ago, neepheid said:

We all need reminded sometimes just how insignificant and unimportant we truly are...

Something I got send a while back which does have some truth about it.

"In 100 years, say 2124, we will all be buried with our relatives and friends. Strangers will live in our homes we fought so hard to build, and they will own everything we have today. All our possessions will be unknown and unborn, including the car we spent a fortune on, and will probably be scrap, or preferably in the hands of an unknown collector. Our descendants will hardly or hardly know who we were, nor will they remember us. How many of us know our grandfather's father? After we die, we will be remembered for a few more years, then we are just a portrait on someone's bookshelf, and a few years later our history, photos and deeds disappear in history's oblivion. We won't even be memories. If we paused one day to analyze these questions, perhaps we would understand how ignorant and weak the dream to achieve it all was. If we could only think about this, surely our approaches, our thoughts would change, we would be different people. Always having more, no time for what's really valuable in this life. I'd change all this to live and enjoy the walks I've never taken, these hugs I didn't give, these kisses for our children and our loved ones, these jokes we didn't have time for. Those would certainly be the most beautiful moments to remember, after all they would fill our lives with joy. And we waste it day after day with greed, greed and intolerance."

4 hours ago, NancyJohnson said:

Truth is, nobody cares, really.  There, I've said it.  Nobody cares.  Your circle of friends don't care and your circle of friend's friends don't care.

 

Hurts to say it.  You might get 5% turn up once out of curiosity, but that'll be it until such a point as you may be playing a big room, then there'll be this expectation of free tickets etc.

We played a special gig in Camden last year. Very much out of our area and not something we would normally do but our singer worked in London, he booked a back room in a pub, put on a few other acts and made a special night of it as a lot of his work colleagues said they are interested in the band and would love to come and see him play. Guess how many turned up? Just 1.

Sadly, as we all get older, people get other commitments like jobs, mortgages, holidays, kids etc. so everyone has less time, money or energy or even interest to leave the house.

Wow, absolutely stunning and so very special. I didn't even know that Stingray's came with binding either but it certainly adds to the look. Do you run it with flats or rounds?

5 hours ago, Barking Spiders said:

But which songs? I'm guessing , respectively they are

Bat out of hell

Country house

Little monster

I predict a riot

7 nation army

I bet you look good on the dance floor

Someday

 

In which case I agree with you. Then again I'd agree viz whichever songs they are

With Blur it's pretty much most songs. I don't think Damon Albarn can hold a tune and the music sounds like a 6th form student band. Alex James is a great bassist though.

As for the rest then yes, you are right about those songs but I have heard other songs by all of those groups/artist and was equally unimpressed.

Meatloaf.

Blur

Royal Blood

The Kaiser Chiefs

The White Stripes

Artic Monkey

The Strokes

14 minutes ago, NikNik said:

Anything by Keane/ Nickelback.

Nickleback I get but Keane????

3 hours ago, StingRayBoy42 said:

I went for the Markbass Nano 300 - I like MB stuff, there was one on here for a good price and it's louder than I need so it could find a place in a bigger setup somewhere down the line.
Cheers for all the input.

I see you bought @obbm one. Dave's a great guy and you'll get an awesome little head that will have been well looked after. Enjoy and let us know how you get on.

I'm using a Warwick Gnome through a TC Electronic BC208 with my Ibanez EUB and it sounds great. 

8 hours ago, bubinga5 said:

Ive seen this band sooooooo many times I cant remember. The Jazz Cafe in London stand out to me and my sister as the best to be honest. They never disappoint as the musicians they/Bluey have are just so incredibly talented. A couple of records on this album that are just smoking imo.. Me and my sister in the late 90s used to think they were very trendy, then we realised they went way past trends. 

 

Who's doesn't like Francis Hylton on an Atelier Z jazz bass laying down a groove.  Just wonderful guitar solos on both. I love alot of different music but the mighty Incognito tick so many boxes for me. But thats just me

 

Not a huge Incognito fan but I do like a handful of track. This is definitely one of them and that Jazz bass tone is phenomenal.

What sort of time period are we talking about and what sort of genre? Was it a song in the charts or a Jazz record etc.?

Red Red Wine by UB40.

Wow, what an absolute bargain and probably under priced. I have a BC208 which I run my Warwick Gnome through and it sounds fabulous, an absolutely brilliant bass cab and these BAM200 heads are amazing as well.

Someone is going to get a brilliant mini rig for a superb price. Good luck with the sale.

Sadly it's the world we live in. There are some wonderful, amazing human beings out there but there are equally some complete and utter tool's with toilet paper for brains. They walk among us and we sadly come in contact with them now and again.

14 minutes ago, borntohang said:

 

Kitty, Daisy, and Lewis. We played with those guys too - their mum wasn't still out with them on that point but they were nice and veteran tourers at the ripe age of 25 or so. Played about 15 instruments between them.

I really like those guys, great music.

Really sorry to read this Ray and Lewis.

As others have said, Basschat is the best place to sell.

I just remembered that whilst mixing an album back around 1999, I went to make coffee in the kitchen and The Corrs were in there making drinks. I think they were in the studio doing a song for a Pepsi advert. Also, when we then went to master the album at Metropolis Studios, OMD were in the next studio along.

1 hour ago, bassbiscuits said:

I one did an open mic slot in Swansea with a chap called Peter Singh, a famous local

Elvis impersonator.

That must have been awesome, were you All Shook Up about it 🤣

I've been a TV a few times. The first was a music show that Garry Crowley presented. He interviewed us and then we played a few live tracks. Be kind, its 27 years ago and we had no idea but we got signed after this TV show.

A lot of our music also got features of extreme sports shows on Eurosport etc. for stuff like snowboarding, water skiing etc. so they then did a special feature on us. Be kind, this was 26 years ago I was a little wasted on various substances.

We then had one of our tracks used in a Casio advert to advertise Casio G-Shock watches in Spanish cinema's. We got paid £500 for this and I actually wrote this track on an acoustic guitar that only had 2 strings on it whilst sitting on the landing of some ones house in Farnborough. The main part is just the bass line which is used here with the drums and feeding back guitar.

I have always sung my own original bass lines in my head when writing for new songs. I am a very melodic player so they are usually way too hard to play at first but I get there in the end once the muscle memory kicks in and I've worked out what the correct notes and phrasing is. Either way, everything is in my head singing along when I write bass lines. 

I'm also not the greatest at coming up with the initial song idea but for some reason, once I hear the rough version, be it just a voice and guitar, I can then hear the entire song in my head and I then go away and arrange the whole song. Its just something I've been able to do all the time, I can just hear the finished song from a very basic idea.

Another thing I can do sometimes is hear a note by looking at it on the fretboard before I've got there. So I may be playing a phrase and I hear the next note in my head and then looking at the fretboard, I see the note I'm hearing on the fretboard so I know where to play it.

I guess as musicians we all have music constantly running through our heads 24/7 right? It's like a constant noise all the time and certainly keeps me awake at night. It drives my wife crazy sometimes as if the music is very loud in my head, I end up tapping away or playing along but there's always something being played in my head, be it a song, melody, new bass line, drum beat. 

2 hours ago, Doctor J said:

I knew a classical flautist, years ago, who couldn't get their head around the idea of composing their own music and, in particular, improvisation. She was quite excellent at her instrument whereas, in the band I was in at the time, writing our own stuff and improvising were completely natural to us, it seemed like the kind of thing every musician would just instinctively know and do, but not so.

 

When I'm writing music, I usually hear everything, all the instruments and melodies. The process of making a real song out of it frequently becomes a tedious chore, as taking it out of my head and into the real world often involves lots of compromise because my ability to play the required instrumentation and manipulate my voice, in particular, frequently doesn't match what I think the music requires. I have to work hard to get rid of the pre-conceived idea and work at something I can actually do and record in real life.

 

 

I played with a few classically trained musicians in the past and they were exactly the same. Everything for them was in a box so improvisation or writing something unusual just caused absolute meltdown. What made it even more frustrating is whatever they were taught is the right way and there was an inability to compromise or even accept there are other ways, for example saying One-E-And, 2-E-And, Three-E-And etc. which I'd been taught and seen others musicians taught when reading music was absolute jibberish to one classically trained musician and their way was the only right way to count notes.