shizznit

[quote name='Chris Horton' timestamp='1330419042' post='1556963'] I play i a modern church worship band, most of the new christian songs feature a 5 string bass line. [/quote] +1 I would be lost without a 5 at church for the same reason. When I play in my soul band the low B hardly gets touched, so I will more than often use a 4. It's all about cutting the fat and use the appropriate gear for the appropriate application.

The numerous dinks in my headstocks will illustrate that my 7-piece (sometimes 9-piece) band is way too big to fit into most small venues in S.Wales! I am in the process pulling together another band and if all the musicians and singers we want come onboard it will be a 11-piece outfit! I must be nuts!

My old MTD 535 - £2900 My old Warwick Dolphin Pro 1 Custom - £3450 My Lakland 55-02 - £1300 Huge difference in the prices and I have to say the low B is better in tone and balance on the Lakland than the other basses through an amp or direct into a desk. Dunno why, but it just is.

[quote name='amewse' timestamp='1330356728' post='1556101'] Now theres another one! Sandwich anyone? [url="http://www.ebay.co.uk/itm/Electric-Bass-guitar-Hand-built-unique-/280834810856?pt=UK_Musical_Instruments_Guitars_CV&hash=item41630f23e8#ht_500wt_1413"]http://www.ebay.co.u...8#ht_500wt_1413[/url] [/quote] Oh no...not another one BIN for 700 sterlings anyone?

My fav Rammstein music vid is the one where they are in fat suits (forget which song that is). Really funny...I peed a little when I watched that for the first time! I saw them in Munich 12yrs ago. Amazing night!

Even though I play a 5 most of the time I do actually prefer a 4. The benefit for me is to be able to cover the low notes on a piano/organ which most of the keys players I have worked with don't like touching very much. If you get hold of a good quality 5 string bass with a tight and musical low B tone you're made, but out of the numerous amount of 5 string basses I have ever owned I have only had two instruments that fall into that category...my old MTD 535 and my Lakland 55-02. It is very difficult to find a fiver that doesn't mud up on the low B and balances well with the other strings.

[quote name='mcnach' timestamp='1330339941' post='1555784'] I don't like the glitches, but I love the sound of the OC2. That's why I sold the MXR despite tracking better (too clean for my taste) and kept the OC2. The trick (for me) is to not play on the very low registers and not to play very long sustained notes. Then the OC2 is king, for my own personal taste. [/quote] I got to be honest, when the tracking loses the note it really winds me up! I didn't get on with the OC-3 at all for both bass and guitar, but the OC-2 does sound great. Recorded some really cool hip-hop and D&B lines a few years ago with mine.

[quote name='mcnach' timestamp='1330212609' post='1554282'] That may be true, but owning both pedals simultaneously, I also found the MXR tracked substantially better. [/quote] +1 I have also owned the OC-2 (now lives in my guitar pedal board) and OC-3 and the MXR is way better

[quote name='silddx' timestamp='1330112240' post='1553038'] I don't dig on this kind of music, but I enjoyed it. You have really great feel, I really like your tone, lovely sense of timing too. You just sound confident and completely at ease, I can almost see you smiling while you recorded it. The only thing I don't like is that little funk major/minor 3rd trill lick, almost every funk player does it and I simply can't hear it as being musical, it's like a great big dollop of tomato sauce on your juicy and perfectly cooked organic rib-eye. Other than that, superb! [/quote] Thanks for the feedback bud. Well, I'm a funk player so the obligatory trill is like the bubble wrap syndrome. Can't resist it! Glad you liked the remix.

I have used lots of octave pedals over the years and the MXR Octave Deluxe is by far the best. It tracks the notes for longer (sustain fade) and it will pick up from as low as F#. That's all very impressive, but the tone from the pedal is great. The Girth and Growl controls are great to shape all kinds of sparkly or low down synth type tones. The mid boost switch an awesome feature too. You can really cut through the mix when you activate this. Mine gets a lot of use for funk, dub step and everything inbetween. I love it!

[url="http://www.ebay.co.uk/itm/Electric-Bass-guitar-Hand-built-unique-/280831859034?pt=UK_Musical_Instruments_Guitars_CV&hash=item4162e2195a"]http://www.ebay.co.uk/itm/Electric-Bass-guitar-Hand-built-unique-/280831859034?pt=UK_Musical_Instruments_Guitars_CV&hash=item4162e2195a[/url]

That is the nicest P I have seen for ages! Congrats!

[quote name='bottomfeed' timestamp='1330093132' post='1552616'] Infectious little ditty!.... quite like the simplicity of the arrangement too... but what it needs is[b][i] ....more cowbell![/i][/b][b][i] [/i][/b] [/quote] I have a fever. A fever that can only be cured with more cowbell!

[quote name='musophilr' timestamp='1330089515' post='1552533'] [url="http://soundcloud.com/phil-aka-pip/alt_carol"]http://soundcloud.com/phil-aka-pip/alt_carol[/url] [/quote] Nice one Phil! Love the phrasing in the verses!

My bulls**t radar is gets better and better with every gig.

No-one / Maverick Sabre. Playing it tonight

Any luthiers on BC that would like to comment? I have owned a few basses with angled pup's and I have always wondered what the benefits are, if any?

[quote name='nottswarwick' timestamp='1330075362' post='1552213'] ooo, but is it loud enough........ Need to try one out. Anyone a-b tested with a HD 350 at 4 ohms? [/quote] Yup... [url="http://basschat.co.uk/topic/159447-ebs-reidmar/page__view__findpost__p__1481211"]http://basschat.co.uk/topic/159447-ebs-reidmar/page__view__findpost__p__1481211[/url] [url="http://basschat.co.uk/topic/159447-ebs-reidmar/page__view__findpost__p__1492685"]http://basschat.co.uk/topic/159447-ebs-reidmar/page__view__findpost__p__1492685[/url]

I have been sessioning for an artist over the past 8 months and I have been laying down some funk lines and gospel chops for his forthcoming album that will be released in April 2012. It hasn't been mastered yet so I can't upload anything yet, but we had a giggle remixing I Wish/Stevie Wonder with my lead singer when we had a couple of hours to burn at his studio. The bass tone is a bit raw as I am sure I was direct into the desk to cut time. I am pretty sure I used my MTD 535 on this session (sounds like it!). Enjoy! [url="http://soundcloud.com/andrew-hartley/nation-stack-i-wish-andrew"]http://soundcloud.com/andrew-hartley/nation-stack-i-wish-andrew[/url]

[quote name='Lfalex v1.1' timestamp='1330035096' post='1551948'] But when it comes to playing music, I just can't be bothered with having to sort my way through the human minefield anymore. [/quote] +1

[quote name='silddx' timestamp='1330012330' post='1551411'] TBH, I find many people very amateurish with organisation, comms, letting people know what is going on and what requirements there are, punctuality, etc. You could not operate a business in this way. So many people have so few skills, they just seem to expect it all to go right on the night. This is everyone, musicians, promoters, venues sound engineers .. I usually find the promoters are the most organised, they have the most to lose. [/quote] That's business mate. Some folks are ethical and efficient and others are disrespectful and incompetent. My day job is no different.

[quote name='blackmn90' timestamp='1329998799' post='1551019'] Imagine your a session player. [/quote] [quote name='RhysP' timestamp='1329999952' post='1551054'] I am. I'm doing quite a lucrative one this afternoon actually. Never had a lesson, never learnt any theory, and certainly never paid "ridiculous amounts of money" to be told I have to sound like everyone else on the converyor belt. [/quote] Me too (however, I do teach!) +1

Ugh! This is where business and pleasure collides for the independent musician. I agree and disagree to that letter because I have worked on both sides of the fence, so I will try to balance things. A gig booking is another word for ‘invitation’…that is a very powerful word in legal terms and always in favour of the venue. You are seen as guest along with your audience. Believe it or not, the venue does [u]not[/u] have a legal obligation to promote an act. If there isn’t a written agreement between both parties about who is responsible for the PR and how the funds for the band will be generated you haven’t got a leg to stand on. In effect, you are the promoter in that instance and it is your responsibility to meet the venues minimum requirement. It is therefore their discretion to pay you regardless how much money they have taken that night because you are a ‘guest’. If money is exchanged on the door the proceeds will go to the venue and it is totally down to them how that money is used. Bands would usually have a fall back by selling their own merch on the premises, but that also needs to be agreed by the venue. You are very much in a position whereby you are setting your own targets to generate your own revenue and the law does not protect musicians very well in this situation. If the venue promotes the gig or uses their own promotion agency then the profit & losses are their responsibility…not yours. If you have agreed on a fee (in writing) then it is down to the venue to ensure that you will get paid. In this instance, the tables are turned. If you get short changed because takings were low then tough on them, not you. They are now in debt to you. Under trading laws they are paying for an entertainment service. As long as you have remained professional (showed up to the venue on time, played your allotted time, conducted yourself in a professional manner with venue staff, not damaged anything in the premises etc etc…) then they are obligated to pay your fee that has been agreed. There are still issues to overcome, but I will get onto that in a moment. In any instance terms can be negotiated between both parties and agreed before the performance and you can creatively work together to promote the gig and come to a financial arrangement. You need to be quite savvy and keep your business head on in this respect to minimise any potential problems with payment. Above all, get everything in writing! Informal gentlemen’s agreements don’t hold any water. The venue will have a list of requirements that need to be followed by the act. Ask for this in writing. If they don’t have such a thing, still ask for it! The same goes for you too. Make sure that the venue understands your requirements (technical, riders, guest lists etc..). Upon that you can then negotiate a fee for your performance. Do not leave it until you get to the venue! The more professional you are with your approach to bookings the less grief you will get on the night. Some of it might be overkill depending on the venue (i.e. The Red Lion on the outskirts of town that does a cracking Sunday lunch for £6.99!), but at least you will ensure you have turned over every stone. If you think that you are going to take a personal financial hit find out if your costs can be covered at least before agreeing to perform at the venue. That is essential preparation for the traveling musician. All of this can be taken with a pinch of salt depending if you plan to make a career out of music or if you are a hobbyist that is in it just for the pleasure of performing. Playing live is a lot of fun when trying to cut your teeth in this industry, but musicians are poorly protected in the eyes of the law and have been for decades. The Musicians Union can offer advice, but you will find that there is not much they can do either. Nothing will about that change anytime soon, but you can take steps to protect your interests when you have grievances. Register your band as a business. I made this step a few years back and it has been a good experience. Okay, it does take the edge off the fun side of things, but you will be protected by the law as a business a heck of a lot better. It’s quick, easy and cheap to set up. Avoid cash payments as much as possible. All registered businesses are able to pay by cheque or electronic transfer by form of an invoice. The downside is that you will have to declare your earnings to the tax man, but if you don’t get paid what you are owed you have a lot more legal clout behind you. Fact is that live music venues are suffering along with the rest of the drinks and hospitality industry, hence why I don’t work in that trade anymore. The price on booze has rocketed in recent years. During a recession the money is not there for folks to go out and spend. Venues are offering lower fees or none at all which is turning off bands. It’s a crappy state of affairs for the performing musician trying to earn a few quid.

Above all, as a bass player you need to be 'tight', 'rhythmical' and 'disciplined'. Style or technical ability doesn't comes into it much later. That's our job...the most important skills of any bass player and guess what?...most other musicians have that expectation from us in any genre of music. We are a part of the 'rhythm section'. Think carefully about those two words. Okay, I will admit if I played for Coldplay, U2, Kings of Leon, Oasis etc... the gig would get a bit boring for me quite quickly, but at the end of the day I don't have gold disks decorating my hallway. What does that tell me?

I don't think your a wuss. You need to be comfortable when you play and your health comes first.