Kiwi

I really like the sound of F-basses. Great find! Congrats!

[quote name='BigBeefChief' post='350427' date='Dec 10 2008, 09:52 AM']CK - that quote has made my day![/quote] Well, when you're young, stupid and at art school anything seems possible.

[quote name='wateroftyne' post='349429' date='Dec 9 2008, 09:56 AM']It's not practical, as you'd would need to take a sofa with you to keep the remote wedged in.[/quote] LMAO [quote name='skankdelvar' post='350350' date='Dec 10 2008, 01:28 AM']Or find a bass amp with midi (is there one?) and use a pedal board mounted midi controller with presets?[/quote] Yes, there's the [url="http://www.clivebutton.com/Trace/pages/Mp11.htm"]Trace Elliot MP-11 programmable eq[/url]. But they're very uncommon, especially with the foot controller. I used to have one and as a preamp they're a bit inflexible but still useful if you need just a programmable eq. There's also the [url="http://www.whycalvary.com/ADA_MB_1/index.htm"]ADA MB-1 bass preamp[/url], arguably just as uncommon because ADA went out of business years ago but perhaps more feted on the other side of the pond. Also the [url="http://www.guitarcenter.com/Tech-21-Sansamp-PSA1-1-Preamp-480041-i1145233.gc"]Tech 21 PSA-1 Sansamp MIDI preamp[/url] and the [url="http://www.dolphinmusic.co.uk/shop/flypage/product_id/13080"]Rocktron Blue Thunder[/url] preamp too. There are any number of multi effects units out there with programmable eq settings as well.

[quote name='Davemarks' post='350216' date='Dec 9 2008, 09:45 PM'](in which I play the most traitorous of tricks... guitar!)[/quote] For a second I thought this might be the Abba tribute band, Dave...

[quote name='alexclaber' post='350149' date='Dec 9 2008, 08:21 PM']That's why I don't like chopping off a load of cab volume to make it tiltback, because every extra cubic inch helps with getting an authoritative B string.[/quote] Yeah but the GK combo was good enough.

[quote name='Jase' post='349443' date='Dec 9 2008, 10:18 AM']I'm quite surprised actually, always thought graphite was a vey stable material for necks. Keep it coming [/quote] Its all down to the construction. Status, Modulus, Vigier, Schack all design their necks to be stiff using layers of graphite weave impregnated with resin. Moses designed their jazz necks to sound like wood, so they use basically a construction process that relies more on resin and MDF for structural rigidity without the weave. Both have phenolic fingerboards and its the fingerboard which is key to getting the neck stiff enough. Status and Modulus got it wrong too at various points in the past, as I've mentioned on other posts. The resin based construction is also what allows Moses to offer their necks cheaper, there's less labour involved in their manufacture.

[quote name='alexclaber' post='350090' date='Dec 9 2008, 07:11 PM']Ah, but I don't want to do just 'good enough' - it has to be great! Don't you think a 12"+mid with the same external dimensions as The Compact and then a tilty thing so you could tilt it at two different angles (~30 and ~45 deg) and have the cab either vertically or horizontally aligned, would tick all the audibility boxes whilst also making it easier to carry and giving better bass response? Alex[/quote] If you make it light enough, and fit [url="http://www.usspeaker.com/faital%20pro%20index-1.htm"]Faital drivers[/url] I'm sure it will be great. In principle I have no problems with a 12" cab, but it needs to be able to handle a B string with some authority. I can't comment on the tilty thing really until I see a sketch or something. So long as it doesn't walk around the stage when I'm pumping away I guess.

[quote name='alexclaber' post='350064' date='Dec 9 2008, 06:48 PM']I thought you wanted an angled cab and I kept saying that the cost in low frequency response made an non-angled cab plus a tilt mechanism more logical? Still working on that, am getting very frustrated with unresponsive potential suppliers![/quote] Indeed you did, but I did make the point that the GK RB700 1x15 wedge combo I had worked fine for me. So if you fancied doing something with the same dimensions but lighter and more rigid, it would probably be good enough.

I haven't met Sian or Corrine yet. I'm open to offers from Abi though :blush:

I have an anodised pickguard on my Celinder P, its really durable and I love it. I don't understand why weren't standard on jazz basses too.

[i]"5 String USA Fender Precision in as new condition. This is a USA Deluxe edition." [/i] [i]"These basses were limited edition and are no longer in production. You can only get them in standard form and not deluxe." [/i]

[size=4]I can vouch for the Destroyers being a party-on-stage. Definitely worth catching, they're one of the best live soul bands I've ever seen. Bring your mates and family and be prepared to enjoy yourselves. [/size] [size=1]Do I get paid now, Rich?[/size]

lol! fighting over the remotes...

[quote name='tayste_2000' post='349389' date='Dec 9 2008, 09:25 AM']Generally the drummer needs to lock in with your out of time loop and they hate it[/quote] Yeah, well its simply not going to happen with ours. We tried getting him to play to a click when we recorded and he was so focused on staying with the click that his playing lost all its feel. That's kind of why I'd like something that I can adjust on the fly. Otherwise he has a habit of speeding up when he anticipates a more energetic part of the song coming up, like a chorus or bridge. Personally I think he just needs to practice with a click and get used to zoning in and out on it every few bars.

Would this mean you'd have to stop playing in order to fish the remote out of your pocket? Would the remote be IR or radio? If it was IR you'd need line of sight. But maybe it would be possible to achieve something using bluetooth...?

my eyes watered involuntarily when I saw that pic. Hope its salvagable Geoff but it looks very doubtful to me. If the headstock facing had been left undamaged, it could have been transplanted onto a new neck. If you can't send the bass back to George, then I'd be inclined to appeal to him to send over a headstock facing and get someone like Martin Petersen or Jon Shuker or Chris May (or anyone else who has a reputation for crafting good necks) to take care of the rest. The one thing George won't be able to guess before sending over a new neck is how to achieve a tight neck pocket fit.

I think the Moses Steinberger necks are OK, but I would be inclined to give their jazz necks a miss. Although they've been designed to emulate maple tonally they're just not stiff enough to handle temperature changes. I had a custom jazz with fretted and fretless moses necks once and the bass needed to be kept at room temperature or given at least 48 hours for the neck to straighten out if brought in from a cold room.

[quote name='timloudon' post='349225' date='Dec 8 2008, 11:53 PM']Is there anyone here who has had this experience- moving to london and slowly working towards a career?[/quote] You can drop a line to Phil Mann, Mike Brooks, Phil Mulford, Lowdown (Gary) and Urb to start with as they are all full time pro's. Teaching or writing seems to be the regular gig when the live work isn't coming in. The other thing to consider is that even if you get tour work, the rate you typically get paid is not that much more than doing function band gigs, even for international acts like Kylie. However some of the more established artists like Rod Stewart, Elton John, Cliff Richard etc. are rumoured to pay very well indeed.

hiya steve, so does that mean you can't adjust the tempo mid song?

[quote name='lemmywinks' post='348975' date='Dec 8 2008, 07:58 PM']From the Shadows and Light gig i think. There's some awesome songs on that. Check Dry Cleaner from Des Moines, that's ace![/quote] I could murder the dickhead who edited that. Some of the finest grooves ever on Dry Cleaner and instead of showing the man's hands at work they stick in some dumb ass shots of Las Vegas lights.

...how do you synch the pedal with your drummer? Does the drummer have to lock in with the loop, or can the loop be adjusted like a tap button on a delay if the drummer speeds up/slows down? ta muchly

I'm sure others are better qualified to comment than I, but even in London you'll need to be 110% dedicated to this career choice. You'll also have to be versatile and find whatever ways to make it pay when the performance work isn't coming in. Its VERY competitive out here with so many grads coming out of the contemporary music schools. Many of the musicians I've met have very supportive partners who provide a reliable income to support them both during dry spells. It's about who you know not what you know, as well. So it pays to get out there and meet other musicians who can slip you depping gigs. After a while you'll have done so many depping gigs and met so many musicians (and possibly other industry bods) that you'll have established a network of professional contacts. As a career choice it can be extremely mercenary and even well established musicians don't have a regular income (unless you're someone who has a regular high profile gig like Dave Swift). So a thick skin is an asset. There have been a number of creative pursuits I could have turned into a career (illustration/sculpture/music) but I didn't want the insecurity, couldn't handle the rejection that I'd have to go through before I got established, and to be honest I wouldn't have gotten as much satisfaction if I was dependent on them for an income.

[quote name='Mickeyboro' post='348745' date='Dec 8 2008, 03:50 PM']'The creative process is just the start and obviously comes second to the profit imperative.'\ You missed out 'going forward...' [/quote] I'll take raincheck on that, lets interface later after I've downloaded the bigger picture.

Depending on how much wood is actually exposed, you could attempt a superglue repair. I've done it a number of times on instruments with stone chipped sized dings and you can obtain a near invisible finish repair if you buff the dried glue flush with a nail buffing pad from Boots.