Doddy

For envelope filters,I love the Emma DiscumBOBulator.I like the Boomstick Bottom Feeder as well. For a Phaser,I like the Guyatone Phase Shifter. If you want something a bit different,check out the Pigtronix Envelope Phaser-it's a brilliant pedal.

[quote name='chrismuzz' post='1329421' date='Aug 6 2011, 12:07 AM']Jeff Berlin is a bell end. Shame because he's a good player, but he's let it go to his head.[/quote] I like him. He's an awesome player and he actually speaks a lot of sense. As far as Jacos bass,he obviously loved the Jazz Bass,the same way he used to lug around his Acoustic amp....he dug the sound. To be fair,he'd have sounded the same no matter what gear he used. Just because he may have had the chance to play more 'exotic' gear doesn't mean he should have-The Fender gave him what he wanted.

I like the irony of merello posting a link to a Steely Dan tribute band and then Pete posting right after.

[quote name='longtimefred' post='1328946' date='Aug 5 2011, 04:43 PM']Thats more like it!!!!! kids should be into ACDC not nasty slimy smooth jazz rubbish![/quote] Or they could be into both and be way better off. Anyway,I'd rather listen to the first video than the kid playing ACDC. The kid has obviously got chops,but I think we've got to wait a few years yet to see where he takes it-if he does take it further.

Don't discount the Japanese and Mexican models,you can get an excellent instrument if you look around-especially the Japanese ones.

Even when taking small steps,you see frustration in a player when they struggle with something new. I see it all the time when I'm teaching-you give someone an exercise and if they can't get it right away they get annoyed with it.The difference comes when one person takes that annoyance as an incentive to be able to nail it,while another will just dismiss it.The one who works through it will have a greater degree of satisfaction at the end of it. I'm not arguing about starting with a solid foundation and building your way up but at every level you should get challenged,and it's how you handle that challenge that makes the difference. I've never seen anyone not get at least a little frustrated when they are struggling with something new to them.

[quote name='Chris2112' post='1327680' date='Aug 4 2011, 07:41 PM']Marcus Miller has played a jazz bass as his main bass for years...reason to suspect he doesn't have the highest standards of tone...confirmed when you listen to him! Victor Wooten on the other hand, with his brace of Fodera basses has always sounded amazing. Mind you, Marcus has played enough boutique basses over the years to know what he likes and what he doesn't like. That said, it doesn't take much effort to get a better tone than he has so I suppose it's a case of horses for courses.[/quote] Funny...I think Marcus' tone is awesome,whereas Victors is a lot thinner and not as nice. I'd reckon that Marcus has an extremely high standard when it comes to his sound.

[quote name='purpleblob' post='1327647' date='Aug 4 2011, 07:16 PM']Marcus is one of my fav. players, but I wonder whether he's pointed out to Stanley Clarke and Victor Wooten that their instrument won't have made them better players [/quote] Stanley and Victor would be great whatever instrument they used-it isn't the bass that makes them who they are as players.

I'm really happy with my rig,it sound great ........I just wish the cab was lighter.

[quote name='Coilte' post='1327201' date='Aug 4 2011, 03:39 PM']IMO, frustration is a hindrance. It means you are setting your goals too high, and if this situation does not change, there is a possibility that a person would give up altogether. Learning any instrument to it's full potential is a life time process which never ends. This learning process is best done in small increments, keeping the goals within reason. The idea is to enjoy the ride.[/quote] I suppose it depends on what kind of person you are. My goal as a player is to be better than I am now,so I naturally practice stuff that is beyond me.If it means I get a feeling of frustration because I'm struggling with it,I can be sure that I'll work on it until I can play it-which is when I get a feeling of satisfaction and accomplishment that is far greater than any amount of frustration I felt a couple of hours earlier.

[quote name='BigRedX' post='1327320' date='Aug 4 2011, 04:27 PM']If you want to buy a really expensive bass then go for it IMO. While spending $5000 on a bass might not immediately make you a better player, if that means that you now own the bass that you really want then I believe that over time the extra playing that you do because the bass inspires you to play more than you would have done. Also I don't get the obsession with getting a pre-amp. Most of them just just replicate the tone controls on your amp but less well and with more noise. If you need to be cutting or boosting a particular frequency range so much that it requires extra help then I would suggest that there is a problem with your overall signal path.[/quote] What if,like Marcus,you are spending hours in the studio without an amp? A good preamp will give you that little bit more flexability. Marcus speaks a lot of sense there.The $5000 instrument may inspire you to play it,but it doesn't mean it will make you a better player-that comes down to what you play on it. There is another quote from Marcus that is something along the lines of working with a particular instrument and learning about it's particular idiosyncracies rather than changing regularly.

[quote name='janmaat' post='1326618' date='Aug 4 2011, 10:45 AM']I believe the gear must fit the occasion. Posh gear in a pub makes you look like a twat. Can't stand all these guys rocking up with their amazing gear and then, not making eye contact with the audience. If you play tight and look into people's eyes, nobody's going to look at the gear. If I get comments on my gear, then my gear has stolen my thunder. Why take high end gear anywhere else but the studio? Unless, of course, it's a clean proper safe well paid venue, a jazz bar cum restaurant, in other words, an event to which I'd wear a suit. Maybe worth saying the gear should not be more expensive than the clothes you wear on stage??[/quote] Really?????? I mean..........................Really??????

[quote name='TRBboy' post='1321866' date='Jul 31 2011, 12:15 AM']I'm assuming that the Boss CS-3 isn't worth looking at? It seems to have all the controls you might need?[/quote] I've seen a few guys using the CS3 (including Marcus Millerand Janek Gwizdala)it was fine and did a good job. I've got 3 compressors-an old Ibanez,Aphex Punch Factory,Emma TransMORGrifier-and I pretty much never use any of them. I've got the Emma on my pedal board but I only really use it to even things out if I've got an excessive amount of effects turned on at once. 99% of the time it just sits there looking cool. I never use it under normal playing conditions. In the studio,if they want to add compression they can but they'll use their own..

[quote name='LawrenceH' post='1324984' date='Aug 2 2011, 10:32 PM']But, the pickups pick up string vibrations, whose properties are determined not only by the string itself but the damping and resonance characteristics of what it's attached to[/quote] But,wouldn't the anchor points of the string be more important to the vibration than what it's mounted too? Also,as soon as you fret a note,you are effectively damping the string so the resonance characteristics have changed again? [quote name='LawrenceH' post='1324984' date='Aug 2 2011, 10:32 PM']I'm afraid this isn't very scientific either, there are far too many confounding variables - although it does show you that there are lots of ways to skin this particular cat so there's no need to get too fixated on wood species per se.[/quote] It's not scientific at all..... Just pointing out that people are more likely to use guess work (sometimes educated and based on the player)and assumption when identifying an instrument.

I got a pretty cool strap for mine and fitted it with new strings and a fresh battery. Seriously thought,I'm not changing anything on mine-I bought it because I liked it as it was....and still do.

[quote name='james_guitar' post='1323705' date='Aug 1 2011, 11:40 PM']the original is in the Real Book of Jazz. [/quote] In fairness though,there are quite a few pop songs in the various Real Books.

[quote name='Thunderpaws' post='1198824' date='Apr 13 2011, 10:30 PM']Paul Reed Smith was talking (a lot) and he basically said he could work with any piece of wood to make it sound good. By sounding good, he explained that he meant if he tapped it he could get the piece of wood to sustain its vibrations for longer.[/quote] Just a thought here,but the pickups don't pick anything up from the wood,and if they did as soon as you cut it and put lumps of metal on it it would change the vibrations anyway? [quote name='mr_russ' post='1323071' date='Aug 1 2011, 01:49 PM']I can tell a jazz bass, a precision, a stingray a mile off...I'm certain most of you can too,[/quote] I can't,and I reckon that the vast majority of players can't either. There have been many arguments over the years when someone says that "(whoever) played (this bass) on (this track)" only to be proved wrong. Even on here the other week in the Sandberg vs Stingray blind test,a lot of people couldn't tell the difference and had to resort to discussing the pickup settings to make themselves feel better.

[quote name='Chris2112' post='1324681' date='Aug 2 2011, 06:49 PM']Some of these were content to just turn up and slog it out with a P bass or a Jazz bass but there were many bands who took a lot of pride in their performance and brought better gear with them.[/quote] So if you turn up with a Jazz or a Precision does it mean you don't take pride in your performance? Let's be honest about it,the reason people use Fenders is because they are good working instruments that sound great and can take a beating. Just because I favour my Fenders(especially the Jazz 4 and 5) over my more expensive instruments doesn't say anything about the quality or pride of my performance. I don't care if someone turns up with a custom whatever- I'm more interested in if they can play than how much money they have.

The new issue with Shavo from System of a Down is out now,so you probably won't be able to get the Glenn Hughes issue in the shops. There may be someone on here who's got a copy to get rid of,otherwise you're best bet is to contact BGM and ask about back issues.

I hate it when the bass player and drum launch into an improv when there is a gap for whatever reason-usually because it ends up being a really lame 'funk' thing.

I could do it in a Ford Ka,so you should piss it in a Focus.

This is where I make the difference between practising and rehearsing.If I'm practising I'm trying to learn something new,and to do this there is always going to be a certain amount of frustration but also an even greater sense of satisfaction. As fun and important as it is to play through your favourite licks and songs again and again,there very quickly comes a point where you are neither progressing or learning something new.

[quote name='Blademan_98' post='1322571' date='Jul 31 2011, 10:23 PM']You could always de-fret again and have nice markers [/quote] The GWB already has nice markers

[quote name='chrismuzz' post='1322591' date='Jul 31 2011, 10:38 PM']The only brand I know of that do multicoloured ball ends are D'Addarios. Unfortunately I can't say exactly which ones![/quote] Fender and Hartke strings have different colour ball ends too......although I've heard that they are made by D'addario anyway.

[quote name='Delberthot' post='1322374' date='Jul 31 2011, 07:12 PM']Either: 1 - we're a small percentage of the bass playing community, or 2 - It doesn't matter that you play as long as you sound decent, or 3 - most people would rather concentrate on playing than spending all their free time on a bass forum, useful and helpful though it is[/quote] Don't forget the other point,that most of the 'boutique' gear that is purchased is played in bedrooms and not taken out to gigs.