Kiwi

that Sei looks like its top might have been from a lump of thuya. If so, Martin had sourced it personally and had it imported into the UK while he was on holiday in Marrakesh.

[quote name='ARGH' post='97858' date='Dec 2 2007, 11:16 PM']Prove Im not right.... www.bassplayer.tv Jeff vs Steve debate. (if its still up) You dont need a metronome to play or practice Bass. You just need a Bass.... (amp and cable and stable electricity source helps...oh a strap,if you wanna walk about too) Click tracks aside..for samples and stage effects (film/lighting). The relative-ness of time.....well myspace Dr Hawking, he's better at the abberation and abstract of 'time' than me,mind you hes electronic,so hes already in perfect time. If everything was in perfect time,like pitch you would have to bin most of your records and you would hate the rest.[/quote] Matey, the burden of proof is on you in claiming I'm wrong. If you can't prove your claim then it has no credibility. Not sure what relevance Stephen Hawking has but if you read my original post you'll see it set out an argument of horses for courses. Metronomes are useful some of the time, but are not a way of life. Problem with arguments like this is that it's all too easy to fall into one of two camps, when instead a bit of perspective on the situation from those who are setting an example would be a load better for bass playing in general. Of course if you WANT to take an extreme position on this topic, that's your perogative entirely.

[quote name='hogman' post='97813' date='Dec 2 2007, 09:47 PM']CrazyKiwi if your drummer cant find his place on the beat i think its P45 time (Unless he drives the van) no excuse in a gigging band.[/quote] Mate you should have seen the drummers we turned down! At least he plays more consistently these days. Its difficult to get professional anyone when you're starting out, goodness knows I've tried and been faced with the biggest bunch of unreliable opportunists its ever been my misfortune to meet. When you're making a bit of money suddenly every pro out there wants to be best mates. Of course, the other handy thing about our drummer is that he's an accountant so is well versed on tax matters and is doing the band accounts for us (including tax refunds on the cost of gear - I'm still hoping Flanker, Alemboid and tonyf will send me some reciepts ). [quote name='ARGH' post='97829' date='Dec 2 2007, 10:08 PM']Time is relative anyway...I see what you say,but its just wrong.[/quote] You mean you disagree with it? Fair enough. I challenge you to prove I'm wrong though.

[quote name='ARGH' post='97802' date='Dec 2 2007, 09:31 PM']If you can clap your hands at an even consistancy,you have timing...[/quote] Yeah but thats just tempo and pretty simple, to do. Jeff covers this on his standard talk on the topic by picking a youngster out of the audience and getting them to clap following his example. Big deal. There's a difference between clapping consistently and using your fingers (and different muscle groups) to play RELATIVE to the beat which is what gives feel. I'd like to see him get that youngster to clap in front of the beat or behind. Or play the first note in a 4 beat bar in front with the rest of the notes behind. I don't think he makes his point well at all in person, and comes across as more than a little patronising.

[quote name='ARGH' post='97782' date='Dec 2 2007, 09:02 PM']Metronomes have very little . if any, use in modern music[/quote] Modern music that doesn't have sequenced parts, you mean? A professionally trained bass player should be able to play along with both quite comfortably, as should any professionally trained drummer. [quote name='stingrayfan' post='97794' date='Dec 2 2007, 09:18 PM']Reminds me of that old joke: Q: How do you know when a drummer's knocking at your door? A: It gets faster.[/quote] The problem we had when he was less confident was that I would play behind the beat on a given song and he'd slow up to match me. The song would then slowly grind to a halt. Alternatively we would be playing on top of the beat in another song and I'd drive the verse a bit as it went into the chorus and he'd speed up trying to keep on top of me. Thing is that despite these issues, he doesn't see being in front or behind as the reason why he can't keep tempo. He had a famous session drummer also tell him that it was important to know the difference. He still swears blind he can't tell though. I've even sat down on the drums myself and played three four-on-the -floor drum beats behind, on top and in front to a blank look on his face. PS: We're currently rehearsing Don't Stop Til You Get Enough, and you wouldn't believe the trouble the timing of two notes is causing me to get the right feel. Stuff like millisecond-perfect playing puts a lot of the widdling in perspective for me. Reckon a bit of percussion might give me a better point of reference.

Mr Berlin is well known for his outspoken views. The thing is that you'll hear a sound bite from him which sounds like an extreme position on a given topic but if you get him to explain what he means, he becomes more moderate the more he expands. The key to feel is being able to play in front and behind the beat, I've found playing with a metronome increased my awareness of where the beat actually was. However I certainly wouldn't recommend getting used to playing with it because most drummers are not as consistent as a metronome. Our drummer is still struggling with hearing whether something is in front or behind. He tends to play in front all the time when the song needs him to play behind.

[quote name='Paul Cooke' post='97498' date='Dec 2 2007, 07:25 AM']are you sure you're a bassist??? cos it sound like there's a drummer inside you trying to get out... [/quote] And if so, how did the drummer get there in the first place?

[quote name='stingrayfan' post='97380' date='Dec 1 2007, 08:11 PM']Tell her an <insert make and model of bass here> will instantly make you a rich rock star and a better lover. It's all how you sell it. Haha.[/quote] and the more expensive the bass, the harder you get. We're all well hard on this forum, none of us can walk through doors sideways.

[quote name='E_MaN' post='97348' date='Dec 1 2007, 07:13 PM']So you want a bass with everything pretty much? fair play, although if you don't keep this bass for the rest of your life I will laugh so hard....[/quote] A shuker bass is not just for Christmas...

LOL better than Amy Winehouse's garden Welcome TheBigBeefChief

[quote name='SJA' post='96965' date='Nov 30 2007, 08:40 PM']Alembic made a bass for Jack Casady with 2 sliding pickups back in the 70's, but it looked horrible. putting a cover like one big pickup over them would improve the looks.[/quote] Yeah I've seen that, I really liked it! Westone Rail requires the whole bass to be designed around the sliding pickup idea which doesn't always arrive at the most ergonomic solution. Mr Spalt also tried a more literal sliding pickup on a prototype bass first, but then opted for the radial option - it still takes a hunk out of the bass though.

lovely gear - you have exquisite taste sir.

Ha, the one of Prince playing has been removed. Now THERE'S a surprise.

[quote name='cheddatom' post='96707' date='Nov 30 2007, 02:45 PM']Surely, if they can be sustained for any amount of time, they can be sustained forever? To be honest, I don't know all the physics surrounding the sustainer, but I thought you generated some sort of electro magnetic field which caused the strings to vibrate, so maybe for bass you'd need a strong field?[/quote] Well just have a go with an Ebow and see for yourself how successful it is with the lower strings. I'm no expert, that just what I've heard being said about the idea. I did wonder whether a super strong magnetic field might actually have the opposite effect beyond a certain mass of string? Magnetic choking was an issue with the neck pickups on MM Sabre basses. I've lusted after a sliding pickup arrangement for ages. For standard pickup designs it usually requires a whacking great trench to be taken out of the middle of the bass to let the pickup move. Unless someone can build a very flat profile (ie shallow) pickup, the only other way is to put a pickup on both sides of the string which is what happened with the Ovation etc. referred to earlier. I wonder if it could be achieved with an optical pickup though?

[quote name='cheddatom' post='96667' date='Nov 30 2007, 01:54 PM']I don't know of any sustainers aimed at bass, let alone passive ones.[/quote] In the past, the lower strings have too much mass to be sustained for a long time by a magnetic system.

MacDaddy's Shuker 6 is the burpiest I've tried in a LONG time.

For me, the sensitivity is going to be key. If the cabs are more than 100dB then I might be able to get away with one cab (HX410) rather than two.

I'd like to see an MM/J system developed where the output is the same, regardless of whether 1, 2 or 3 coils are selected. This is the major drawback of all the HS stingrays I've tried because it means I'd have to adjust the gain on the amp every time the pickup settings are changed. +1 on the sustainer Very cool for fretless, I can set up a mild feedback effect on my Pentabuzz if the amp is loud enough and that sustains and swells wonderfully.

[quote name='dood' post='96577' date='Nov 30 2007, 11:35 AM']Hartke have finally gone NEO.. Have my prayers finally been answered? If these cabs sound as good as the 4.5XL, I'll be needing to change my trousers. I LOVED my 4.5's ;o)[/quote] Me too - those cabs sounded pretty good in terms of their midrange and low end but my 4.5xl at 125lbs was a bugger to carry.

thinking s'more: MacDaddy's shuker 6 and my Jaydee was almost all mahogany and they were very growly

[quote name='Johngh' post='95856' date='Nov 28 2007, 10:36 PM']Well, in keeping with me changing my mind like the wind changes direction, I've ended up buying Angelboys Kingbass. So the S2 6er will have to wait until next year.[/quote] Is that the BC equivalent of a fart?