guildbass

Not a fan of these things but the first clip sounds like the '71, sort of ...Meh...the second clip has that slightly crap (stand at the back and hide' '50's tone and the third one has a '90's punchy sound so a contemporary instrument.

Nice playing by the way!

[quote name='EssentialTension' timestamp='1335632730' post='1634069']
In fact, you may go the full nine yards (what does that mean exactly?) and still not get the gig.
[/quote]

My favourite explanation of that phrase is that it came from WW2. The American P51 Mustang was used for a lot of ground attack work over Europe ... They basically shot up anything that looked a bit ...well...German... Trains were always a target.. Anyway, a P51 and probably other US fighters held approximately 9 yards of ammunition in belt form... So 'Giving it the full 9 yards' came to mean going all out at something...

My 1999 NS 2000-4 ... Only year they made 'em with this body ! Plays like an angel...Slightly tighter brighter sound than the Streamer but then it's denser wood, the bass weighs nearly 12lbs!
[attachment=106155:big.jpg]

[attachment=106156:body 1 big 2.jpg]

Have a listen to the guitar track on the Soundcloud link below. If you feel you can play nylon strings in that style with great feel and timing we have loads more similar songs to 'do' and would love to talk!... :-)

[url="http://soundcloud.com/sardi-1"]http://soundcloud.com/sardi-1[/url]

Cheers!

Jon

I got my right hand to strum accurately and developed all those heel-of-the-hand damping techniques by playing the same songs a lot. I picked 'Stand By me' , Chain gang by Sam Cook and a couple of other similar ones. there's a lot of finesse in the right hand on those old songs...

Also, when you create your 'E' chord, do it leaving your index finger free...In other words use your middle, ring and little fingers for the shape. This leaves the index finger free for barre chords. It's slightly harder work initially but pays off!
Also, that 'E' chord shape moves across one string to be 'Am', goes up the neck one fret (with the index pressing the high 'E' strings bottom fret for 'F' and coming across one string back towards you, a convincing 'C'.

Good guitar playing is all about the rhythms of the right hand which is why deeply learning simple 'round and round' songs like 'Stand By Me' is so good. All the song comes from the right hand....

If you want proof of that, Ben E King's Stand By Me, in the key of G is 'G' 'Em' 'C' and 'D' Tracey Chapman's 'Revolution, also in G is 'G', 'C' Em' 'D'...Just the middle chords swapped around but the rest of the differences are all in the strumming techniques.

Once you've cracked that stuff you can play 'Wonderful Tonight' at parties and have sex with girls!

Nick's playing some stuff with Steve Wilson right now. my friend ian's doing the sound....They all went into a cafe during a break in the tour and Too Shy was playing.. Ian said 'Don't you get pissed off listening to that song?' Nick said, I would, but this year (2011) it's earned me just over £20,000 so far.....

Yeah, funnily enough i DID hear the sound of an old plank being thumped just before the event......

[quote name='skankdelvar' timestamp='1329615156' post='1544974']
Cocktail sticks. Harder wood so they'll keep their shape when you cut them.

Don't push them in, cut them off and [i]then[/i] sand them flat - you'll just bugger up the finish around the holes. I know - I've done it.

Just push one into the hole as far it will go. Mark it with a pencil, pull it out and cut just inside the mark. Then you'll be flush-ish. Tiny bit of wood glue on the stick and shove it back in.

Colour Matching:

If you're picky, you can gently sand and colour stain the ends before you glue them in.

If you're lazy like me, cut them microscopically too short, shove 'em in and dab a tiny, tiny bit of matching wax crayon or boot polish into the little depression.

[color=#ffffff].[/color]
[/quote]Now THAT'S why this forum's so brilliant...Cocktail sticks...Yep, and of course some of those come in darker woods too...thanks so much!

I recently bought a through neck Telecaster made by Mania...No, I've not heard of them either!


Anyway, the neck/body is great and that's why I got it...The various bits of hardware are ...Adequate at best, but this is an upgrade project.

Anyway, the previous owner screwed a very nasty plastic scratch plate on where there should have been none.

So I have three screw holes in the top. Each is about the size of a match stick and I thought about cutting a matchstick up and shoving it in the hole then sanding it off flush...I doubt I'll be able to get a match for the dark stain of the guitar's body but it'll be better than a hole...Unless anyone has a better idea

For me, it's about the way the notes sit. Like a really good blues solo. Few notes perfectly placed...We ran through Nights In White Satin recently and I did the flute solo on bass... Lots of space for expression and an interesting take on that classic piece.

For improv stuff start with a one tone up two strings across octave 'box'. 'Feel in' lazy vibrato and half tone bends. if the key changes move the box. Later when the groove is flowing, lob in a few scales up to and away from the box.

Start with a basic 12 bar and solo through the verses....Everything comes from da bloos!

I use no effects live.

I record with 1db of compression on a DI'd Warwick Streamer Stage 1 or a Spector NS-2000-4. Both with brand new strings on for the session...I might use some chorus to fatten the chords on one recording but we'll see!

[quote name='paul_c2' timestamp='1329588350' post='1544660']
But that doesn't fit, because you don't need frets to create some higher notes, just know where the harmonics are. My 4 string, 20 fret Jazz copy can achieve 5 octaves, for example, the same as my 24 fret fretless.
[/quote]

Yeah but going 'ping ping' on a couple of harmonics isn't the same as playing a groovy riff four octaves above where you are rooted...:-)

[quote name='Bilbo' timestamp='1329476335' post='1542957']
Not read the whole thread but Puink was a good thing. It broke the status quo
[/quote]

Nah, Nuffink could break the 'Quo'

I think Britain's a very unique place as far as music is concerned... i mean when Punk hit the country i was at college in Plymouth and went to see loads of bands...Slaughter and the Dogs, XTC...I just missed the Pistols. It was an exciting time as the energy had gone from the pop scene up t'ill that point. What WAS interesting was that Punk almost overnight banished Prog, but the thing was, in the UK we all thought Prog had, like the dinosaurs, died out, but it hadn't at all, it carried on with the same huge audiences overseas...places like Germany, Japan and a host of countries carried on loving it. Today there are proper Prog rock bands doing proper world tours annually...Porcupine Tree springs to mind but there are plenty of others...

The other thing that punk did was to break the strangle hold of the songwriter. Up to the end of Glam, the pop charts were full of stuff written by professional song writers...Half the Glam Rock output was by a guy called John Shinney who wrote all the Chinn and Chapman stuff...And he was in his mid 40's when he wrote 'Blockbuster', '48 Crash' and so on

[quote name='discreet' timestamp='1329587127' post='1544636']
Ah-ha! Don't fix it - it's got 'mojo' now. Stick it on eBay for twelve grand.
[/quote]

ha!...it IS a Falcon with a Reynolds Ti alloy frame...that sounds quite Mojo.ey...I fixed the puncture so it's mojo-less again now!

i got the puncture cuz I stuck 100 P.S.I in an 85 P.S.I wheel!...the tyre jumped off the bead...Sounded like an unsilenced .22 rifle when the tube saw fresh air and instantly blew ...I actually though someone had taken a shot at me!

It's excellent! we made stuff like this for our Glam rock band...It's a lot cheaper to slap some fun fur on a Squier though!

Just to clarify here, we're talking about a bolt neck which has a sound so lightweight in itself it relies on the sonic signature of the amp to be usable and looks like it has spend 30 years in a desert.

And as far as these sort of ads go, 'Mojo' means 'makes strangers think you've got some time in...

Sorry...Got a puncture on the bike and had to push it home in the rain......

[quote name='paul_c2' timestamp='1329575179' post='1544426']
Well yes, but you know what I mean. I guess we should say "2 octave neck" or "1octave + minor 6th" neck, or something like that. Can't really call them positions because the positions don't correspond with the fret number (do they? They don't on violin or cello etc).

Don't some fretless basses have 1 fret, at the head???
[/quote]
Oh I dunno!...Maybe!... I don't think mine does though. In my head is a 2 octave neck or ...It isn't. I never know about frets but the Warwick has a full 2 octave neck and the Spector is, I think, one fret short of 2 octaves...

[quote name='paul_c2' timestamp='1329565341' post='1544277']
I have 2 basses and had to take a look at the fretless to remind myself how many frets it has - 24.
[/quote]

Erm....Surely that should be....None!

The thing with 24 fret basses is that they usually hang off the shoulder differently so the 12 fret comes straight up under your hand rather than across the body. I've always found Fender type basses to be very difficult to play up high because you are reaching across your body to get to the higher notes. On top of that the lack of cutaway makes the higher notes difficult to access even when you DO reach up there...

It's obviously a look thing. Get a T bird, go with whatever amp/cab you fancy carrying, and your tonal variation can go from brick/pick bright and twangy to neck/fingers warm and woolly.

At any decent venue the sound of your cab is irrelevant, It's basically there for on-stage monitoring...The only band members who'll listen to it are you and the drummer, and he'll be listening for the timing, not the tone!. What matters is how your bass sound will be getting to the punters and that will be through 'front of house' so its the feed to the desk you need to worry about...And what the engineer does with it. You CAN nonce about with mics into your cab but it's inviting mediocre sound so you are much better using a good pre-amp or similar and a DI box into the desk to get your tone (you can use headphones to get the tone to your satisfaction out of the pre-amp) and then the fold back monitors coming back from the desk will have your sound. Or if they are very flash, they'll have wireless in-ear monitoring

As regards the stage, It sounds like the band have a major image thing going on so you might as well find out what they want as a good looking back line.... Some big old Ampeg cabs perhaps...You could have them unloaded though...No point in dragging all that iron-ware about....(You could keep all your gear inside the cabs then!)..Quo for instance had walls of AC30's but most of them were empty boxes with just the red neon light working!

If the band are as tasty as you imply, there's no way they are going to have colossal on-stage sound levels...It kills musicianship, And they are going to have an engineer so do what every other bugger does...Use the F.O.H monitor feeds...Maybe just look at buying a decent monitor wedge !

Right now, I'd say less than you'd expect. Between £250 and £500 with a mint natural finish one at £500

If the band are doing covers, tread carefully (and I don't mean on your various pedals!) If they are doing their own stuff, remember first and foremost that the existing members will 'own' those songs and you'll have to be very diplomatic in the way you suggest possible different bass sounds.

Personally, I think effects need space to work...I'm using some chorus on the chords I'm doing on the recording we're working on, but the other bass line in the track is a clean Spector with nothing apart from 1db of compression...And our stuff is really open and spacey.... I haven't heard much Indy stuff that has all that much space in it so in many respects you need clean tight bass lines because the tendency is for the music to be pretty crowded and the audience tend to hear a mush with individual instruments a tad 'lost in the mix' I used to use a pick for tracks like that just to pull some extra definition out of the bass. i also found that using distortion effects sounded like you had turned the amp off...the drop off in apparent bass was huge...I actually didn't have enough amp to compensate.

Let them enjoy your playing first. Build up a bit of respect and then suggest your ideas...And listen to their opinions too!

Oh, one more thing, you often find that out in the world the effect that sounded just perfect in your home practice environment is far too extreme 'front of house'...try to get recordings of the band practice. try with and without your chosen effect...Listen critically....Be honest with yourself!

A set of nice big headphones and an Ibanez RU10

[url="http://basschat.co.uk/topic/147205-ibanez-ru-10-jam-tuner/page__fromsearch__1"]http://basschat.co.u...__fromsearch__1[/url]



Brilliant little thing and still £19 online...

[url="http://www.google.co.uk/products/catalog?hl=en&safe=off&q=ibanez+ru10&gs_sm=3&gs_upl=1668l7004l0l7431l11l9l0l2l2l0l266l1249l4.4.1l11l0&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.,cf.osb&biw=772&bih=711&um=1&ie=UTF-8&tbm=shop&cid=4074218490705335471&sa=X&ei=D048T9XoHJKp8APpk-SHCw&ved=0CDsQ8wIwAQ"]http://www.google.co.uk/products/catalog?hl=en&safe=off&q=ibanez+ru10&gs_sm=3&gs_upl=1668l7004l0l7431l11l9l0l2l2l0l266l1249l4.4.1l11l0&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.,cf.osb&biw=772&bih=711&um=1&ie=UTF-8&tbm=shop&cid=4074218490705335471&sa=X&ei=D048T9XoHJKp8APpk-SHCw&ved=0CDsQ8wIwAQ[/url]

[quote name='Gareth Hughes' timestamp='1329339338' post='1541012']
Sennheiser HD-25-1. They are a little expensive at £149 but lordy are they worth it, and you can get pretty good volume out of them before anyone around you notices.

At a huge music retailer in Germany, called Saturn, I was able to audition about 50 sets of headphones, from £5 ones right up to £500 ones, all connected to the same sound source. It was amazing to hear the comparison between sets all playing the same music. I even went about £100 higher than the Sennheiser's but nothing beat them. Bought my set in 2002 and they're only now starting to need one speaker replaced and believe me, these has been thrashed around, dropped, crushed into bags and been given general dogs abuse over the last 10 years. A quality product.

Don't be confused tho by the lower priced Sennheiser Hd-25 S model - lot of reviews saying they're nowhere near as good.
[/quote]

My mate Ian uses Sennheiser 25-1's. He's the front of house guy for porcupine Tree and various project bands headed up by Steve Wilson. He needs good isolation from the room when he works and his feeds are used for the live show releases. when you consider how much of a sonic purist Steve wilson is, Ian has to be accurate and he swears by the 25's.

I use a pair of HD 570's (the current equivalent is the HD595) they are full size jobs but strangely still of an open backed design. I like 'em cuz i can't feel comfortable with being totally cut-off from the room unless i can lock the door! The 570's still have the classic Sennheiser sound and I have no issues practising with them in the lounge with the telly on. Under a £100.....Just....worth a try...

I'd have to go with the Sennheiser recommendation. You'll find them in many video studios too...A lot of pro people use 'em.

[quote name='Dom in Somerset' timestamp='1329348368' post='1541263']
I think mine was all mahogany and the sound (acoustically) was a bit dull, the new ones have a maple neck.
[/quote]I was convinced the woods made a sonic difference and I searched high and low to find an all ash Guild 302 because my mahogany 302 had a very dark, dull tone. I finally got an Ash one...And it sounded EXACTLY the same as the Mahogany one......I also played a 302 with Barts in it...And it sounded the same (almost)