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BigRedX
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Everything posted by BigRedX
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And the non-remixed version is out now:
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Are you posting that to agree or disagree with my statement? I can't find anything on the website that says how many people work at "Manton Customs" other than they use the pronoun "we" but that could simply mean there are two of them or has been used make an organisation which is a single person sound more impressive.
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Also most UK luthiers are small, often single person outfits and don't have anything like the overheads of Alembic or Fodera. I know Fodera bang on about how they are based in NYC when in fact they are down by the docks in Brooklyn (which is similar to saying you're based in London when the reality is that you work out of a unit on an industrial estate in Croydon), but even so I suspect that their rent/rates etc.are considerably more than than having a workshop in your back garden (Gus).
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I don't know why anyone would do that. If you slacken off the strings for transit then really you need to slacken off the truss rod by an equivalent amount so the neck remains in equilibrium. I'm pretty certain that they don't come from Squier like that (my Bass VI certainly didn't and IIRC was almost perfectly in tune when it arrived despite having been shipped from mainland Europe). -
That is very nice looking. It's probably just as well I find the neck way too narrow or I'd have got one too!
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- fender bass vi
- squier vi
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It's also one of those songs that is arranged so that the whole is much greater than the sum of its parts. IIRC the bass line on it's own is essentially meaningless in places and it only really comes together when all the band plays the correct parts.
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I play in two goth/post-punk originals bands, and one of them is currently working on an original Christmas song for next year. The other has been playing a cover of Greg Lake's "I Believe In Father Christmas" at all December gigs for the last 5 years and which has gone down so well that this year we decided to put it out as a single:
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There are lots of options for UK designed and built instruments. I have realised that for the majority of my playing years (almost 50 now) has been done with guitars, basses and synthesisers made here. In order: Self-made solid electric balalaika Self-made solid electric guitar Burns Sonic Bass (original 60s Made in London) EDP Wasp Overwater Original 5-string Bass FretKing Esprit V Custom (from the days when they were made in a workshop behind Musical Exchanges in Birmingham) Gus G1 Guitar Gus G3 5-string Bass Sei Offset Flamboyant Fretless 5-string Bass The only non-UK instruments I have spent any serious playing time with: Kimbara acoustic guitar (my first proper instrument) Korg MS20 Casio CZ5000 with a Yamaha KX5 Keytar Warwick StarBass II Burns Barracuda (designed in the UK, made in the far East) Eastwood Hooky Bass 6 PRO (essentially an exact copy of a UK designed and made Shergold Marathon 6 string bass)
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Interesting, when I saw them in 1980 and 81 I'm pretty sure he was playing an Ibanez Musician bass rather than this Fender P.
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This. If your bass is a short scale Burns Sonic Bass, pretty much any of of their short-scale strings will fit. They also made the only strings that ever gave me a decent note out of the low E on my Burns.
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Simple way to determine effect of combining cabs?
BigRedX replied to asingardenof's topic in Amps and Cabs
And if your cabs are for the listening benefit of your audience you also need to get out front around the venue to listen to how the sound changes in different locations. It's no good having a rig that sounds great when you're stood a couple of feet away from it and crap everywhere else, because you are the least important person from the PoV of sound. It's your audience you should be aiming at. That's why my on-stage requirements are simply that I can hear that I am in tune and in time with the rest of the band, let the PA do the heavy lifting sound-wise and trust the PA engineer will make me sound awesome FoH. -
If you piled on enough options to a Gus you could reach that price point. A few years back I got a price for Simon to build me a Bass VI using his G3 baritone model as a starting point which ended up being about £6500, and that was without a lot of the additional features that you could add to a more conventional bass from Gus.
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WoT has hit the nail on the head. Remember all those establishments using recorded music to make the places more attractive to their customers, would have had to employ actual musicians or made do with silence in the days before it was possible to use recordings, so shouldn't the musicians who wrote and performed on those recordings benefit when they are used in lieu of the performers in person?
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Simple way to determine effect of combining cabs?
BigRedX replied to asingardenof's topic in Amps and Cabs
Other thing that you can't predict is that when you use two different cabs they will produce different sounds in different places in a room, depending on the projection/dispersion/beaming characteristics of the cabs combined with the acoustics of the room. This is yet another reason why mixing cabs is not a good idea. It's become a strange situation that for bass players the bigger and more impressive the gigs you play, the less important your choice of cab(s) becomes. The vast majority of gigs I have done over the past 20 years have had sufficient PA support for my rig (when I was still taking one to gigs) to be little more than a personal monitor, albeit a very impressive looking one. And for anything but the very smallest of stages it didn't even have sufficient dispersion to cover the whole stage, so I would be relying on the monitors to hear myself as soon as I stepped away from in front of my rig. As a result my conventional rigs got sold and replaced with a Helix and FRFR, and the latter is mainly used for band rehearsals. -
If I can't be down at the front at a gig I might as well wait until it's available in format to watch at home on the TV.
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We first started playing this back in 2017 when we asked to perform a Christmas song on a local radio show and it was a toss-up between "A Wombling Merry Christmas" and this. It's been part of the set for all late-December In Isolation gigs ever since. We finally got around to recording our version earlier this year and although we weren't able to properly emulate Slade and record it in LA in August, it was done during one of the heatwaves earlier in the year. So, I give you our version of the Greg Lake/Prokofiev classic "I Believe In Father Christmas". We've decided to release the storming Matt Pop remix first with our more conventional version and accompanying video (which we shot earlier in the week) coming out a bit closer to Christmas itself.
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Thanks! In case anyone is wondering what I'm doing there, I'm using a pick to "bow" the higher strings giving a sound that's a combination of the typical plectrum scrape but with a proper note behind it.
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Hurtsfall at The Lending Room in Leeds playing the Carpe Noctum night supporting Skeletal Family. Apart form some weird sound problems at the start of our set, due to technical issues for the headliners at the soundcheck which meant set up time for the other bands was somewhat truncated it went really well.The venue was pretty much sold out and there were even people dancing all the way through our set. Plenty of positive comments afterwards and we sold CDs and T-Shirts. Some photos of us on stage: Next gig on the 18th December at the "In The Black Midwinter" festival in Sheffield.
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I'd really like to go and see The Cure, a band I've come to appreciate a lot more than I did when they were having "hits", but I simply don't do stadium gigs as punter so I'll be going them a miss. There are other bands I like more and even those wouldn't go to a the sort of stadium gig shown in the OP to see.
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For me the main advantage of a 5 string is that the E string is no longer at the edge of the neck, which makes it easier to play with my less than brilliant technique.
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Logic is free for upgrades within a major version number. So all upgrades to Logic X (10), and we're currently on 10.7.something IIRC, are included in the price. And there have been some pretty significant improvements and additional features added between the first version of Logic X and the current one. When Logic 11 comes out it, if you want to get it, you will have to pay the full price for the new version. However at £199 it is IMO a complete steal. In the early days (I've been a user since V1.x) it cost about £400 just for the MIDI sequencing version. The Audio addition was an extra £300-400 and if you wanted the next paid upgrade (some of the x.5 versions were paid upgrades) that was another £200-300 for each of the MIDI and Audio sections.
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Reaper is fine and very cost effective if you are just wanting to use your DAW as a digital multi-track recorder. As soon as you need to use any plug-in instruments, you will quickly outgrow what comes with Reaper and find yourself pending a lot of extra money, to get what you need. Most other DAWs come with plenty of good quality virtual instruments as standard. Also if your doing a lot of MIDI manipulation a DAW that has it roots in MIDI sequencing (such as Cubase) is a lot more versatile. Unfortunately MIDI in Reaper is still very much an afterthought.
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TBH unless your screen is properly colour calibrated trying to make a choice based on a photo posted on a web site is pointless and even then your choice of browser can make a difference depending on how (and if) it recognises any embedded colour profiles. I've just pulled up the OP in both Safari and Firefox on the same screen and there is a noticeable difference in how the colours in the photos appear which is confirmed with the Digital Colour Meter utility.
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I've played 5 string basses almost exclusively since 1989. I bought my first because I'd previously been playing synths and I thought that access to the lower notes would be useful. Most of the time I never use the low B string at all. And TBH much of what I play could be done on a 2-string bass strung E and A. When I was playing in my Dad Rock Covers band I once took my single string Atlansia Solitaire Fretless Bass (tuned to E) to a practice. I found the fact that it was fretless was more of a hinderance than the fact it only had one string. The most use I have got out of the low B string was when I was playing in The Terrortones which is probably the most musically "conventional" band I have ever been in. In my current bands I use low B for the chorus of one song and for the very last note of another. And personally I don't care what anyone else thinks.
