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lownote

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Everything posted by lownote

  1. lownote
    My sixer is just 9.2 lbs inc strap. Nice meaty dangle, but doesn't feel heavy.
  2. lownote
    I'm a six man and I do have a reason. I sometimes play blues, sometimes funk and sometimes even fiddle with a bit of classical. Plus I like going up the dusty end. So it makes huge sense to have just one bass that can do everything. I have spent several months doing SD's 6 month accelerator course on the Hohner B Bass VI and recently went back to the P bass. Nightmare. Could not get on it with it. String spacing and muscle memory clashes. So the P bass is sold and I'm sticking with the six.
  3. lownote
    Now you see, to me that's odd. I do agree it can be easier to sound amazing on a top instrument so there is an argument for starting further up the food chain, but that doesn't need to mean very top. I'm learning sax and went from a Trevor James (£300) to a Yamaha YAS25 (£400) and found the latter FAR easier to play because it's far better made for just a £100 more. And top end doesn't always mean great. One of my sax teachers, a former pro sax tech, wrote a long article on how Selmers can be vastly overrated and dire. Just as Scott Devine frequently points out a hugely expensive bass, presumably he means Fodera, doesn't always cut the mustard.
  4. lownote
    I have owned several Squier and other P bass clones. These were fine. The one real P bass, an MM Fender, I owned was like a different instrument altogether in every respect. This was when I learned a useful lesson. I have owned Markbass, Vanderkley and TC cabs. At bedroom levels they're all lovely, turned up to gig levels it's immediately obvious which is the cheaper cab. So...YMMV but in my experience, you don't need to pay top dollar but you do need to get over the 'down to a price' threshold. Wine buffs make the point that if you buy a £5 bottle of wine, after tax and duty and other overheads you're actually getting a 47p wine. Buy an £10 bottle and you're getting a £2.82 wine - 6x the quality for twice the price.
  5. lownote
    This is all so wise, especially the second paragraph. That's EXACTLY how the serious (semi pro, pro) scene works in Norwich, anyway. As to rubbishing yourself, modesty and managing expectations is all fine but it can backfire. Our band had a vacancy for a singer. We auditioned a huge fat ugly slob who turned up jelly wobbling and sweating with fear and immediately started apologizing for being a fat slob. He went on and on about how he shouldn't even exist until we got depressed and had no option but to show him the door. He has since found a band, relaxed into the role and is now one of the best and most in demand singers around here. Rather than slag yourself off, don't say anything. Just be nice, quiet and play. The band will work out for themselves whether you're still got stuff to learn and whether they can live with it. Just my tuppenyworth from personal experience....
  6. lownote
    This +1. When my experience of JMB looked like continuing to be 100% knobs I decided never again. And before I became one by osmosis. What really defeats me is the purpose of Bandmix. I can't see how it works if you're a music-Ian looking for a band, and indeed have had not a call in single call in several years, not even a tentative one. The best bet in my experience is getting stuck into a good jam scene, getting known and accepted there and being quite good at what you do.
  7. lownote
    If all the 'ex SAS' men and people who 'knew the Krays' I've met really had special ops would be the largest employers after the NHS and everyone else in the country would be a crim.
  8. lownote
    I answered an ad by a singer on the Norwich Musicians Network looking to form a band. I was the first to reply and she promised more details. So a day later I get a playlist of about 100 songs from every conceivable genre, plus she wanted to know if I would be available for international touring. I pointed out we hadn't even had our first pub gig. For some reason this generated a tsunami of outrage at my negativity.
  9. lownote
    That's amazing! I'm jealous... You got to play two sets! Awesome
  10. lownote
    I got round this by turning my back on the audience. I have no idea how this went down because [revisit first sentence]
  11. lownote
    Funnily enough, I feckin love G too. Actually I most love F# for some reason. But other than that G is just sick. In fact, unless I can play in F# I always play G and if anyone complains I just say I'm playing the Lydian/ Florian / Dorian / Mixolydian wot'ever mode.
  12. lownote
    Selling my P bass as I'm now 100% six string. Great tool in great nick, assembled by me and a Norwich based pro tech to suit my precise need in a blues fusion band. What you get is a quality almost 30 year old* Squier P bass neck on an Affinity lightweight body. It's not a JV neck but not much later, so still pretty good quality. Plays like a buttery dream (of course). The electrons get to trundle through a KiOgon loom into a Tonerider pickup. Rosewood board on maple neck, black body with a lovely dark red scratch plate. Dunlop straplocks. I'm not sure I want to sell so I'm not posting, it's collection only from near Diss in the middle of East Anglia. I might deliver up to say 10 miles. You're welcome to try out through my Markbass rig. Up for £200 inc Hercules stand shown. (* Neck serial number S 1***** would suggest a Korean build around 1991. Please correct me if you know different. )
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  13. lownote
    BT... fast broadband, no issue.
  14. lownote
    On a broader front, although few if any of us are cardiologists, several of us have what risk communicators call 'situated knowledge', that is where a lay person acquires a certain amount of specialist knowledge gleaned from their own experience and talks with doctors because it's relevant to them. Mining that, as you've done, can be very helpful and hopefully you've found some of the above informative. What's not good of course is to regard that situated knowledge as necessarily applicable in your case. For that you need a grownup.
  15. lownote
    C - B for tuning. But B-C when setting string heights. No logic, other than that the higher strings seem to allow a more precise tuning, whereas E and especially B are a bit more random.
  16. lownote
    lol
  17. lownote
    Two other things to consider. One is that if you had minimum symptoms the risk signals may not be there to warn you to take it easy. You may feel fine, you may not be fine. Second, the drugs may impose their own limitations. For example beta blockers cap your heart rate and if you force the heart to push those limits by exerting hard you can do damage. A couple of weeks is way too early to be trying to get back to normal. I was very similar to you and told not to work (non physical) for a month. Dep those gigs and in future find a way of making bass playing easy as possible.
  18. lownote
    Ah, you might have got away with angioplaster, but how much damage was done when your cardial infarcted? That's the kicker. Angioplastery is all about what's needed to keep your cardio pipes open. That's quite irrelevant to your recovery regime, which is predicated on the damage done. If it was me I'd discuss this openly with the cardios but expect them not to play bass and in particular don't expect too much in the way of expert judgement from the rehab nurses. Then I'd slap some flats on me electric, turn off any actives, play over the neck pup and pretend you're a DB player. Until you're totally back to normal. FWIW I'm having the same discussion with them about paragliding and my ticker kicked off last May.
  19. lownote
    That. Totally depends on the severity of your HA. Long spectrum from a serious kick in the ventricles to barely more than a warning. You're two weeks from it which isn't long and recovery regime will totally depends on where in the spectrum you are. I was told to build up steadily and don't mollycoddle yourself too much. The secret is to avoid sudden changes in exertion levels and not to strain yourself. Can't see playing DB is going to do either unless you're pretty bad anyway. Worries me that you say you find a DB a physical challenge. In what way?
  20. lownote
    If you do it regularly you soon get to eyeball it close enough. Playing styles vary so much it's not really that critical to 1/1000 inch. It takes me a second to assess my relief by eye and if I check with a measuring tool I'm always pretty accurate.
  21. lownote
    you may need a capo or friend's finger to provide the 1st string clamp
  22. lownote
    If you have them, that's easiest and accurate. I go for .3mm. But a lot of people just hold the E string down at the last and first frets and run a business card between the 8th fret and string.
  23. lownote
    I'd strongly agree with test before twist. it's really not that big a change.
  24. lownote

    Hi Basschat

    lownote replied to Teebs's topic in Introductions

    you're just evaluating us for compliance, int'cha
  25. lownote
    I'm the OP. Perhaps slightly cart before horse I've now put my question to the highly skilled singer and band director who runs the funk club in question. Her answer? "... it's all about the pocket and locking in with the drummer. So yes, improvise but your rhythm needs to be tight." But I can't help feeling those BCers who've said well known bass lines are important have a point too. Ah, whatever. I think my natural level is blues, life's so much easier. Roots and ghost notes and a meaningful bass face, as if I have bad constipation, should get me through.
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