thisnameistaken

No gigs this summer apart from one next weekend accompanying a singer on upright, but I'm not really missing gigging - busy working on new tunes with two new bands.

[quote name='paul_5' timestamp='1408047123' post='2526670'] Alas, 'twas always thus and ever shall be. People want 'entertainment' [/quote] So I guess you don't approve of acts like Louis Jordan, Smothers Brothers, Flight of the Conchords, or even Fishbone?

That's why I bought my first double bass. Some are louder than others, and some strings are louder than others, but get it right and give it some welly and you can easily keep up with a couple of dreadnought guitars. Acoustic bass guitars on the other hand haven't a chance.

Yeah I hate blues rock too.

If you've got more than one pair of stereo outs on your audio interface surely you can set up the submixes you need on your computer and send them to the appropriate outputs.

'Passing tones' should lead to the next chord. It's good if they are intervals of the current chord that are very close chromatically to notes of the following chord, but if they lie between the two it still works if it's clear to the ear how its going to resolve. I guess that's the main thing - the note needs to indicate a resolution, because it's going to create tension. If the note doesn't tell the listener, in some way, where the melody is going, then don't play it.

To the O.P. I do appreciate your posts about simple expenses like rehearsals and travel. I spent many years trying to establish a business where I had very little disposable income and I know how that feels sometimes.

[quote name='cheddatom' timestamp='1407845668' post='2524541']Yep, this is a great pedal, but I still use my LS-2 too. I don't see why it would "kill tone"[/quote] I definitely noticed a loss of treble content when using an LS-2 as a line driver (with it in bypass mode). My board used to be based on an LS-2 with the only pedal that was always in my signal chain being the LS-2. The difference between going through that and going straight to the amp was really obvious. I replaced it with the Loop Logic and the difference is barely noticeable. I should add though I didn't ask Max to design the Loop Logic purely because of the LS-2's buffer quality. It was more because I wanted two stomp switches to control the two channels. I need to be able to switch each channel on and off independently and despite the LS-2's wealth of switching options that just isn't possible without two switches. And it's lovely that he built it in a Boss-sized box with the switches close enough together to stomp both of them at once. I really love that pedal and it's still the key unit on my board. I do still rate the LS-2 as a budget 2-channel mixer though.

Pass The Mic is on Check Your Head though.

Look at the SFX Loop Logic. I've got one, not cheap but it's a nice design. One stomp per channel so you can switch them individually, and top quality buffered bypass so it doubles as a great line driver.

I'd just like to put in a dissenting voice against the suggestion of using credit, although it seems the O.P. is smart enough not to do that anyway.

[quote name='fumps' timestamp='1407741939' post='2523395'] all of the Beastie Boys "Ill Communication" was recorded using an upright. [/quote] I think he used a Mustang on 'Sabotage' Good call on Fingathing - our DJ introduced me to them, they're ace. Cypress Hill pretty much based their sound on the upright. Some of the Mouse Outfit stuff on Escape Music features double bass, their bassist is pretty on it actually: http://www.youtube.com/watch?v=xiir1qs7qqE It's not all upright but that album is well worth a listen for UK hip-hop heads, it's got a lot of great old-school sounding stuff on it and some very talented young northern MCs.

I recently spent two years gigging a Squier I bought used for under £100, nobody batted an eyelid. Expensive bass guitars only exist to cater to the customer who likes to spend a lot of money. I'm sure they're very nice but I'll never buy one, for the same reason that I'll never buy a Ferrari.

[quote name='Karl Derrick' timestamp='1407703722' post='2523236'] I think that if we're going to take an animal's life, it's only right that we shouldn't waste any of its body.[/quote] I'd agree with that, and I do eat meat (although I'm eating less and less of it) but to me wearing leather just seems a bit crass. I don't wear jewelry either.

I use cotton straps because they're not as slippery as nylon. I wouldn't buy a leather strap because in one of my bands I'm the only member who isn't vegan. :-)

I got a used Zoom H2 on here last year for 80 quid. On it's lowest gain setting it works great for recording bands in small rehearsal rooms, and it's nice to actually hear the bass and not just a woolly distorted mess.

[quote name='bubinga5' timestamp='1407606406' post='2522308']Sharay Reed ... i would say he's one of the most technically gifted players alive today.[/quote] That's the sort of phrase you'll only ever hear from a guitarist. I find it quite frustrating. Not the content of the phrase - it means nothing at all to anyone including the writer - it's frustrating that it even gets introduced into a conversation. What does 'technically gifted' mean? And how large a set of technically gifted people are you including him in? Which technical challenges do you imagine him surmounting and which players do you believe would not be able to do the same? Hmph. I wonder if engineering forums ever argue about the relative artistic gifts of men and women who design sewer systems.

Pretty girls are popular, whether they play bass or not. Anyone in a popularity contest with a pretty girl is going to lose. Equally, a good looking guy with an equivalent talent or skill set to an ugly guy will be more successful. This is why I find it odd when people talk about how it doesn't matter what their bass looks like. You're wearing it, of course it matters. It matters as much as your shirt or your shoes, and if you think they don't matter then there's something wrong with you. You're in the entertainment business.

I imagine this is what Off Topic is like.

I think the main reason that used to happen with multi effects is because they were so difficult to tweak in a rehearsal room or on stage to get them sitting right with the rest of the band, because they had such arcane user interfaces. Newer units are much better in that respect, developers are really thinking about users and workflow these days.

There are a couple of P sounds I like, but they are well ugly, and not very inspiring to play. I assembled one last year from an Ash body and a Mex Fender neck but I rarely pick it up.

Beautiful.

I've had a Line 6 M9 on my board for about five years. I have other pedals too (the filters on the M9 are all crap, and nothing sounds like an OC-2, and it doesn't have a sample rate reducer patch...) but the M9 has stuck around because it's really useful and a lot of the patches sound great. It's also nice to have expression pedal control over any or all of the params, across all the active patches.