miles'tone

[quote name='discreet' timestamp='1435941333' post='2813880'] That's interesting, thanks. But psychologically I can only cope with owning one black bass at a time... [/quote] I bet the tort-on-black didn't help much either!

Tim Commerford from RATM played a jazz with a P neck to great effect after he ditched the 1st albums Stingray. I had one myself once too. I put a MIJ 62ri P neck on an American standard Jazz which was ace. (Fender original P pup added too btw). It's here on this vid of me and a couple of mates having a jam (if your interested that is!) http://youtu.be/f-DFf1jH7zQ My mate's got a Westfield J bass that came stock with a P width neck that is actually a really nice sounding bass. There's a used one here for 80 quid if you fancy a look-see: http://www.musicalcircus.co.uk/stock/bassguitars/othermakes/westfield_jazz.html

Got to lock them up in something.

He reminds me of early Oasis in a way. Take every opportunity to tell people that you're the best in the world and eventually enough people will believe you.

FKA Twigs on the otherhand gave an incredible performance. Running around, spinning and diving with her dancers while never losing her puff and hitting every note every time. Her style is pretty eclectic and not for everyone here, but she is a brilliant artist. So very humble too. She's my Glasto fave by a long way.

http://youtu.be/nwN6dPNXklg Kanye v Freddie

[quote name='timmo' timestamp='1435587349' post='2810292'] I only went twice. !992 and 1994. The Levellers were awesome that day. The problem with 1994, was the year Mean Fiddler took over. You couldn`t take your own drink in the field, and youy had to go through barriers and frisked to come from the camp site into the arena. I believe that is why the prices of tickets started to rise rapidly, as it become a lot more commercial. I remember being stuck outside the gates for hours, because the travellers were refused free entry, so they blocked the gates. [/quote] My first year was 1992 and one of the first people we met after bunking in was the singer from The Levellers! I was a bit starstruck for about a minute, lovely guy, bummed some skins off him They were great that year. "If I could live the life I lead, then I would be a spaceman..."

There's no such thing. You either rock or you don't.

Had a dream I had a Limelight P in exactly the same finish and condition as discreet's reliced J of yore, tuned BEAD. Now it all makes sense.. It's beyond GAS, it's an inevitability! (hang on, that is GAS actually, isn't it?)

[quote name='bigjohn' timestamp='1435497623' post='2809331'] https://www.youtube.com/watch?v=KNkPn0JrTFQ WT actual F. Is this real? [/quote] The crowd, Michael Eavis, the BBC.. Suckers, the fu***ng lot of them. Can't believe the money people throw at this clown.

Brilliant! Thanks for that. I've just shared it all over Facebook to cheer up all my mates who haven't seen a proper band there yet!

[quote name='bartelby' timestamp='1435314037' post='2807519'] Not always. Sometimes mid afternoon or early morning. But they mostly come at night, mostly... [/quote] AAARRGGHHHH!!!! Missed another sodding PJ-5!

Are the dekos usually posted at night then, or could it be at any time? I'm keen but always too late!

For the record, Nick Oliveri made up his own string sets. Heavy GHS Bass Boomers .115 & .95 for his C & F strings, and Ernie Ball Power Slinky .75 & .55 for his Bb & Eb strings (C natural tuning) There's a vid on YouTube knocking around where he says this but can't find it again. The trick is to get just enough tension while still being a bit flubby to get that dark crunch if that makes sense! \m/

[quote name='Bassassin' timestamp='1435230469' post='2806700'] Hmm - that Emperor model might raise the blood pressure of certain jumped-up, litigious Californian CEOs... Love the fact David tries to do something different with his basses - I really wish the Super P came with the maple Vantage neck, preferably in a J width. On second thoughts, I don't, I'd be ordering one if it did. Jon. [/quote] Equally, I'm actually pleased there aren't fretted and fretless Super P 5-strings available. I would be over half a grand poorer today otherwise!! Well done Retrovibe. Great looking basses at the right price. Nice light weights too. No boat anchors by the looks of it.

[quote name='scalpy' timestamp='1435130601' post='2805654'] http://m.youtube.com/watch?v=gAacdHxJW6s Just discovered this morning, (man I love it when that happens) Eska- Shades of Blue. Never heard of her, tiny number of views and clueless to who's on fat strings duties but this must be one of the grooviest 17/8 tunes you'll ever hear! [/quote] Nice! Although I can't help being the geek sorry - it's in 15/8. Good find! 👍

Yes, yes and indeed, yes! Congrats man, I think the Infinity is my favourite Warwick of them all.

Manifest Destiny - Jamiroquai Haven't heard it for a long time until just now, and it's the first one that came to mind.. http://youtu.be/opVG11bBsHk

[quote name='kev b' timestamp='1434918435' post='2803882'] My first proper band in the 70's had Hammond, a new fangled polyphonic synth with "strings" and a real brass section. We did loads of TV and Film Themes as they went down really well with the audiences. Shaft, Hawaii 5-0, Six Million Dollar Man, Charlies Angels, Summer of 42 Biddu arr., Muppet Show Theme, Monty Python Theme, Exodus, The Avengers, The Good The Bad and the Ugly, Shadow of your Smile etc. Really enjoyable tunes to play especially as the composition/arrangements were by people such as John Barry, Michel LeGrand, and Lalo Schifrin and recorded by top session players. I miss those days, playing 5 nights a week plus Sunday lunchtimes, how times have changed! [/quote] Now that's a band that I would have loved to see! 👍

Yeeeehaaaaahhh!! \m/ http://youtu.be/u28gI4Xr44w

Dirty Harry theme song: http://youtu.be/ZDKRD2q3bYo

Fantastic job sir! I love it. 👏

Thank you both, that was brilliant!

[quote name='HowieBass' timestamp='1434252912' post='2798023'] I now like to think of a bass as a structure that supports a vibrating string where the vibration leaks out at each end - in effect leaking out at the nut and bridge, and also at the point where you stop/fret the string (fingerboard/fret), these points, where the ends of a vibrating string are fixed, behave as imperfect mirrors. Since these end points are imperfect mirrors, they're unable to contain all of the vibrational energy of the string, so some vibration leaks out beyond the nut, beyond the bridge, and beyond the fingerboard/fret, into the rest of the instrument - into the neck, the headstock and the body; which act as heat sinks. These heat sinks will have characteristic resonance modes, not unlike the wooden blocks of a xylophone. I see the body and neck of a bass acting as absorbers of energy, they take it from the string, but only at specific frequencies, frequencies that correlate to the resonance modes of the instrument - this is why and how dead spots occur where the major contribution is from flexure of the neck and headstock. I imagine dead spots are less of a problem with necks made of very stiff materials that resonate at high frequencies outside of the range covered by the bass note fundamental and low order overtones - such as graphite and aluminium?. So if construction method (single piece or laminate neck, inclusion of graphite reinforcing bars, types of wood, bolt on or neck through) makes a difference, and it seems it does, I think it's likely because there's a process of some of the vibration energy being sucked out of the string, resulting in the colouration of a note in terms of the balance between the fundamental and its overtones. Maybe the wood tap test is looking for notes that don't interfere destructively with the range of frequencies you want to 'sing' with a bass guitar. All in my humble opinion obviously. [/quote] Great post and I absolutely agree!

"How can you have your pudding, if you don't eat your meat?!!" I use this daily on my kids at teatime. But seriously, his lyrics do seem to get better the older I get. Very mature songwriting for such a young lad.