Doddy

48 minutes ago, BassAdder27 said:

I guess if you are playing “ standards” such as Jazz etc then exact has a place but in my opinion it prevents the musician from being creative 

It’s more about the performance than the accuracy in my opinion 

No one playing Jazz standards is playing anything that is exact to any recording. It's generally a far more creative scenario than the majority of rock cover bands.

I've heard, and played with, a load of cover bands who claim to play exactly like the originals, and I can safely say that absolutely none of them ever actually have. Some get close (usually the ones who have everything charted), but most are quite a way off. But, you know what? As long as the important parts are there, it's not a problem. 

I used to have a slight boost in the midrange, but I've gone towards a slightly scooped sound now. I find that my sound has more definition now- It's clear and full in the low end, and crisp and clean in the highs. I also find that my effects work better now too.

I'd always recommend an octaver or an envelope filter, but as you don't want those how about something more out there like a ring modulator or a Meatbox style sub? 

(Or a delay or phaser would be cool, and more sensible. Less fun though)

4 minutes ago, Grahambythesea said:

Alternatively abandon all pedals and just go for a great BASS sound! After all the bass is part of the rhythm section and distorting or artificially extending the sustain is not complementary to rhythm. Leave the effects to the show offs playing 6. The caveat to this is compression which is probably built in to your amp and if playing fretless, a little ( very little) chorus might enhance the sound, or so Pino says.

Because having a great sound and using effects are mutually exclusive, right?🤦‍♂️

I find it interesting that Ernie Ball are doing so many custom/signature instruments for Joe Dart, but wouldn't for some of their biggest users (Flea/Pino/Levin for example). 

They've obviously found a market though, judging by the sales of his other signature models. Ernie Ball will probably release this as a limited run of 50, and they will sell out to all the Vulfpeck fans.

13 minutes ago, Sibob said:

Looks like a wonderful bass, but at just shy of 11lbs, it's a chunk of an instrument!
Finish would work perfect in one of my bands though (singer obsessed with orange haha)

 

Si

It's heavy, but nothing that a quality strap won't sort out.

The finish is a bit nice though.

Like I've said before, asking for an advanced soundcheck sucks, but I almost can't blame the venue for being cautious.  So many comments are coming with a "F You!" attitude, and venues/planners/brides, don't need that. Wedding bands charge the money they do to deal with hassle like this and to cooperate with everyone involved. 

It's a shame that venues and wedding planners have to be tools sometimes but unfortunately, too many bands have brought it on themselves. Once bitten...and all that.

19 hours ago, peteb said:

 

I think you will find that will be, to all practical purposes, as good as any super jazz around at what is a pretty decent price. From looking at the website, I see that they also have an early, old logo 5 string in a candy orange finish for £1,449. That has to be worth a look as well. 

 

I've been looking at that Candy Orange 5. I think I'd have to sell a couple of things first though.

Some pedals can be really temperamental with high output, active instruments. You really need to experiment to see what works for you and your gear. Everything in your chain, will affect how the pedals react.

I've got a load of drive pedals, and I've found that for overdrive I really like the EQD Plumes, Fuzzrocious Oh See Demon, and HBE Hematoma, while for a Big Muff style fuzz, I like the Greer Tarpit, and the Nine Volt Fishing Is As Fun As Fuzz.

1 hour ago, hiram.k.hackenbacker said:

I guarantee there will be more knobs in the audience than there will be playing instruments. Are they going to vet all the guests as well?

But the guests aren't being hired to work at the venue for the night.

There must be someone in the band who can liase with the venue?  The reason wedding bands charge what they do is partly to deal with situations like this. 

2 hours ago, hiram.k.hackenbacker said:

 

The issue is that someone has made the decision, that as the OP’s band is not on the ‘recommended list’ (whatever that is), that the band is required to do a sound check on a day prior to the day they have been booked for. The response should be no, that is not happening and if they are standing by that stipulation, then the band will not be playing the wedding. I’ve never heard such an utterly ridiculous request and I wouldn’t be surprised if this has been suggested by a wedding planner type person rather than being a requirement of the venue itself.

 

The request to do a set up/soundcheck at an earlier date is crazy, but I honestly think it's just a way to try to scope out the band to make sure they aren't knobs. Every wedding venue has their recommended suppliers for bands, catering, decorations etc. They know who they can trust to turn up and be respectful and do a good job. They are unfamiliar with this band so they want to know that they are cool. One member going to the venue for a chat (or even a phone call if it's too far to go) with the boss/planner could possibly sort it all out.

If you want a decent, new 5 string in that price range,  I'd be inclined to look at the Sire V7.  

Maybe they just need to meet you to see if you are cool? If the venue is local to you, can't one of you (the bandleader ideally) go down to spec it out before the gig?  It's not uncommon to meet with the venue manager and/or wedding planner before a function, although a full band soundcheck beforehand is crazy.

These venues have their approved bands because they know that they are going to respect the venue rules and not act like tools. They basically want assurance that you are going to be accommodating and easy to work with.

32 minutes ago, paul_5 said:

I don’t really rate them for modulation effects, there are MUCH better phasers and choruses out there for similar money, but for guitar overdrives and distortions they’re exceptional for the money, and virtually indestructible.

I don't mind their modulation pedals- I especially love the old BF-2 Flanger. 

One of each for me would be.....

Jazz Bass

Precision Bass

5 string 

6 String

Fretless

Upright

Moog

I get the prejudice against Boss. I felt like that for a while until I realised that a few of my favourite pedals are made by them. It's easy to get caught in the boutique pedal world, but Boss make quality pedals (and they are bomb proof). I love 'em.

10 hours ago, Geek99 said:

I do wonder if keeping a thumb resting on the cover and not moving it might lead to problems longer term compared to keeping your thumb mobile along with all your fingers 

 

 

caveat : I’m not medical but I’ve had a lot of hand problems arise from immobility and lack of use however if the pup cover rest thing works for anyone reading and they have no reason not to use it, go right ahead 

It could possibly cause a few problems if you solidly anchor on the pickup, mainly because it's easy to apply too much pressure on the thumb, but also because as you move up to the higher strings it can introduce a sharp angle on the wrist.

It's generally not a massive problem, but it could be if you do it for prolong periods of time.

On 30/01/2022 at 04:48, CameronJ said:

I’ve got 2 Xotic XJ5s, one normal and one “lite”.

 

 

 

They look great, especially the burgundy mist over sunburst.  Almost makes my GAS shift from Sadowsky to Xotic.

What I'm told

Just now, Ricky Rioli said:

 

The only two pure steel roundwounds I've experience of are Swing Bass (which don't suit me, unfortunately) and Pro Steel (which do) If Bass Direct or Strings Direct had stocked the GHS steels I might have tried them, too.

 

 

I'm not a fan of the Rotosound Swing Bass either. If I use anything different, it's usually LaBella RX and Super Steps ( maybe D'Addario Pro Steel if I need some string quickly)

On 30/01/2022 at 07:02, Ricky Rioli said:

When brands are owned by retailers, not manufacturers, it's difficult to be sure whether past reputations are still relevant – who knows whether they changed supplier, and if so, what consequences there were on the qualities of the string: tone, feel, durability etc.

 

I don't think there is any need to worry about the quality of Elites. As far as I'm aware, they are made by GHS.

I've used (and endorsed) Elites for years. I don't use the Players Series because I don't particularly like nickel strings, but their steel strings are my favourites. I occasionally try other strings, but always go back to Elites.

Sire make a fretless in a bunch of different finishes. Sure, they have lined fingerboards but it's not really a big deal. Most people who are going to be buying a budget fretless will likely be people who are just starting to dabble on fretless and will probably prefer fret lines.

Kind of.  I always wanted to have that active Jazz sound like Marcus, and I kind of still do. I don't want to sound exactly like Marcus but somewhere between him and Will Lee will do.  

I've been playing a Precision Bass a lot, and I've been going for a more aggressive tone similar to someone like Kevin Scott.

The best way to build up speed is to make sure you can play the line accurately at a slower tempo and gradually build it up.  Maybe start at a slow tempo like 60 bpm and get the line nailed, before upping the tempo by 5 bpm. When you get to a point where it's tripping you up, knock it back 1 or 2 bpm. It might take a while but you'll get there, and more importantly, it will be accurate.

Technique wise- don't dig in crazy hard, try to keep your wrist straight, and don't put too much pressure on your thumb if you are anchoring it to the pickup.