JamesBass

I'm finally thinking of adding a cheap, yet decent 5er to the stable, I'm after a versatile bass that does vintage and modern. I currently play a P with TI flats and love that smooth vibe, but at times I do need a bit of bite. So help me out wise old BC!

N.B. I've tried a stingray 5 before and liked it but never committed to it, and I'm quite thinking of getting a jazz bass anyway so are jazz 5ers good? I know, go try them, which is what I'm gonna do on Saturday!

Nice looking rig Steve!

Need to get my new rig sorted soon, so review/feedback on the Barefaced cabs would be great to hear!

[quote name='Raslee' timestamp='1432240712' post='2779703']
Old thread resurrection alert (thus proving some basschatters check to see if the topic has come up here before ) - Anyhow, i am shortly about to pull the trigger on one of their jazz bodies for my 74 jazz as it is way to heavy for regular gigging (i will of course keep the original ash body), quite impressed by their website too
[/quote]
Interested to know how the body turns out! Of course pics will be needed!

My experiences of TC is that they are very clinical and not suitable for Motown etc. however the amp I'm currently interested in to play this sort of stuff is the MarkBass Randy Jackson TTE 500 sig, hybrid amp, 6KG. Can't comment on how it sounds exactly but it's on my list to try in the next 2 or so weeks

The way I do it is by getting the set from the band, making sure I know where and what they've changed. Then learn the chord sequence of songs more than the notes, for instance Stay with Me by Sam Smith is in C Major, and is a VI, IV, I. progression if for some reason down the line some band do it in E Major, then I know the song already give or take.

All the songs I've learnt I've done this with and then just improv and feel the rest of the line, unless of course the line is less open to interpretation and improv. But I do notate or write out everything I do and save it as PDFs so I can take them anywhere on my iPad.

[quote name='Iheartreverb' timestamp='1431901586' post='2776119']
thanks for looking in guys, yeah, it's another one of those threads.

I am well aware that the volume is dictated as much by the cab (size/ amount of speakers) as it is by the wattage of your head. Thing is, I just don't know what I "need".

Every single practice rooms we have ever used has a 300/500 watt head running (reduced into an 8ohm) 8x10 cab. So I have never played with anything other than an 8x10! I've never seen a band play live with less than a 4x10 even in tiny venues.

This will for now at least be going into our own practice space and eventually (not much of concern now but I'd prefer not buy more later) gigging.

I'm looking at something like an ampeg PF head, maybe an Orange bass terror, but that sort of ball park.
Should I be looking at
2x10,
1x15,
4x10?

We are a pretty loud band and one of the guitarist is using a Fender Twin. Usually I'm running my volume just less than half on an Ashdown mag 300 that I'm borrowing.

I just don't want to buy a cab that won't hold up or need to add another later. There's a really complimentary thread on the new Fender rumble 500 which I like aesthetically but not sure if it's more of a practice amp than something serious.

Any and all help appreciated
Any questions, fire away

Cheers all....
[/quote]
Where abouts are you based. If you're near either Twyford/Reading area get yourself to BassGear, they stock TKS cabs, which are super lightweight and super loud and sensitive, plus they looks AWESOME! If you're nearer Brighton contact Barefaced Bass as they again are stupidly light and stupidly loud! Both have exceptional reputations on here among even the busiest of us.

I'm currently torn between going for a TKS or a Barefaced! Doesn't help I'm not certain on which amp I'm after yet either haha!

On hold.

Was gonna go with the soft wrap then have that inside a plywood exterior, cheers fellas, will price it up!

So my CTM300 is up for sale and theres some interest in buying it, albeit over a distance, what's the best way to package such an amp for a 300-400 mile trip? I've only got a roqsolid cover for the amp.

Advice badly needed!

[quote name='samBolshy' timestamp='1431780998' post='2774929']
I've been using an Ashdown MAG300 for the last couple of years or so, it has to be on full most of the time to be heard at practice, and gigs it needs DIing to be heard, unless the venue is tiny (which is every few gigs). It's had a good run but one of the speakers has started flapping/rattling and I need a new rig. I'm after a stack because a lot of the time a cab is provided and I've done my back in already! My main requirement is a f***ton of headroom, as I think I'm gonna get some sort of preamp/tone shaper pretty soon.

My sound is a bit of a wierd one, I play dead hard with fingers but it's a little less clanky than most other punk bassists I know. Sometimes use a distortion for fast bits and an EQ for dubby bits.

What do you guys think would be good?
[/quote]
How limited are you in weight of an amp? My CTM300 head is up for sale here and though it's 33kgs it's stupidly loud and has the most headroom I've ever had in an amp!

[quote name='Merton' timestamp='1431708465' post='2774220']
Silly good value

GLWTS
[/quote]
Tell me about it! Thought this amazing amp would have gone by now to be honest!

[size=7][b]Bump for FINAL PRICE DROP NOW £850!!!!![/b][/size]

Well a quick google and the driver shows up as being $95.

[quote name='harrison' timestamp='1431339241' post='2770076']
Any ideas on couriering for it to Yorkshire/Manchester?
[/quote]
I'd say it'd be buyers own risk and cost though.

Bump!!

[quote name='Marc S' timestamp='1430992918' post='2766589']
Hi Phil,

Sorry, no suggestions
Though if you like what you already have on the Wal, why not keep it that way?
Or maybe just keep an eye open for another bargain, and experiment then....

Just wanted to ask,
Do you find the TI Flats are very low tension?

I've got a set of Steve Harris Flats on my fretless, and they're good
But ideally, I wish they were a lower tension....

Good luck with your string search
[/quote]
If you use rounds, like EXL170BT daddario's then there's no change in tension I found, but they will feel looser under your fingers compared to your SH sigs!

[quote name='Sibob' timestamp='1431028184' post='2767154']
Listen to D'Angelos 'Voodoo' album! That entire album is behind the beat!! Pino is sometimes half a bar behind the kick and it's amazing!!

Si
[/quote]
That album defined pocket playing groove to me. Pino and D have become gods in my mind after the depth I've studied that album! Utterly perfection in terms of musicality, technique, and sheer ability!

[quote name='ubit' timestamp='1430861340' post='2765436']
Just when have I been patronising?

I have played a large variety of music. My taste is very wide covering many genres apart from jazz, which I'm not too keen on.
Every example posted showing behind the beat playing has sounded right on the beat to me. I'm dismissive of the concept purely because the timing is so small that it's hard to really visualise it being played by a band in a live situation where you would notice. If it was noticeable , it would sound like the band is out of time.
[/quote]
Well the overall tone of your OP and the use of "so called professionals" in the thread title.

I'd recommend listening to more Neo-Soul style music as that is a genre with a LOT of beat manipulation. Clearly you aren't going to get the concept from this thread alone, therefore I'm out. I don't wish to have someone belittle or dismiss something I, and a LOT of others, have developed and use as part of our careers.

[quote name='fretmeister' timestamp='1430847617' post='2765198']
Not if you publish it on the web!!

As a recent example I remember when Stuart Clayton did Metallica's "Nothing Else Matters" - it couldn't go in the book because the permissions hadn't come through in time for the publication deadline.

A book teaching people to play a piece is clearly for academic use - and yet the permission of the copyright holder was needed.

Claiming that something was for academic purposes when that isn't true would be a lie - your mate better have at least 1 student!
[/quote]
Not my mate fortunately! But I have done the academic purposes claim, fortunately I am a freelance teacher!

Interesting to hear of that issue with the book! While I have some knowledge of the workings of Copyright, as I've stated, I'm far far far from proficient enough to have my advice and experiences taken verbatim.

[quote name='fretmeister' timestamp='1430845948' post='2765157']
I think the main two problems here are:

1) Ubit thinks being ahead or behind the beat means playing out of time, when it doesn't
2) None of us are doing a great job explaining why!

None of it is "emperors new clothes" or "pretentious" it is just a fact of music and has been for hundreds of years.

I wonder if the problem is that in rock / pop etc the Mood of the music is dumbed down to Ahead Of the Beat / on The Beat / Behind The Beat rather than the huge amount of terms used to describe the mood that appear in classical music.


[/quote]
I'll add a third issue here. Genre and stylistic technique knowledge.

Almost certainly people have only ever really played rock and pop stylings and derivatives and done the very minimum needed to be successful in those genres and their stylistic techniques. Look further afield and you discover whole new concepts of beat, rhythm, and groove. People also don't understand fully what groove actually is. We use it as bass players to define our feel, when in actual terms, a groove is a repetitive rhythmic device. So when you cover Cissy Strut, you are playing the groove. But what you might lack over the original Cissy Strut line, is the feel. Being able to develop your own feel is absolutely fundamental to being a successful bass player. Pino managed to develop his feel after listening to, learning, and playing Jamerson, and Jaco lines. He found a way to tone both of them down and successful entwine them to develop his own slightly behind the beat feel. Feel and our interpretation of a track is what makes us difference guys and gals.

As for being able to convey behind the beat, on the beat, and ahead of the beat, a picture is often useful. I draw out the sub-divisions and show my students the pocket. That small sonic space where you are so marginally ahead of the pulse or so marginally behind the pulse that you are still absolutely in time. It's all to do with the bloom of the waveform and the interpretation of the players. Fortunately I have been working with exceptional drummers for the past 4/5 years, all of whom are obsessed by rhythm and polyrhythm that they understand what it is I'm doing, they're all VERY well versed in genre and stylistic technique.

[quote name='ubit' timestamp='1430843711' post='2765124']
Very patronising, cheers!
[/quote]
Yet your view on the subject is in no way patronising, dismissive, and quite ignorant?

You say you've played in bands for years, what type of bands, and what style of music are you into and influenced by? Genuine question cause I struggle to see how you can dismiss a technique quite a lot of players have built professional careers from?

[quote name='ubit' timestamp='1430841173' post='2765082']
I agree that when you have music digitalised and you can actually see the music in front of you, say on a computer screen, then you can move the bass swell to the left or right of the drum swell, which would make the bass behind or in front of the beat, and could alter the feel of the piece,but what I'm saying is a human playing live would struggle to play constantly behind or in front of the beat without sounding out of time. As shown by the clips that have been added to this thread.
I agree that it could be done subconsciously I.e. you can get the feel of the piece and drag or rush without thinking.
I will carry on playing in time with my drummer and I promise never to delve into the world of jazz to spoil anyone's behind the beat experience!
[/quote]
If it can be achieved subconsciously then why not consciously?

Your attitude towards beat placement and advanced rhythm can quite honestly be taken offensively. Try telling someone such as Pino that he is out of time. It wouldn't go down well in the slightest. If you ever wanna look at it more, I suggest taking a look at Polyrhythms and how playing 4/4 against 5/4 can be kept in time. Then move said concept around to pocket playing within a single rhythm. Being on the beat isn't the only way to be in time.

[quote name='redstriper' timestamp='1430833267' post='2764988']
[font=arial,helvetica,sans-serif]Hi James - was it you that posted that brilliant cover of Superstition on youtube?
If so did you get permission from Stevie?

This is the song my friend covered, he did ask for permission but he had no reply until it went on youtube.[/font]
[font=arial,helvetica,sans-serif]He played all the instruments and someone else did the vocal.[/font]
[font=arial,helvetica,sans-serif]He gave [color=#141823]full credit to the songwriter, in addition to an undertaking to use the recording strictly for non-commercial purposes.[/color][/font]

[font=arial,helvetica,sans-serif][url="https://soundcloud.com/neil-w-2/guide-protect"][color=#141823]https://soundcloud.com/neil-w-2/guide-protect[/color][/url][/font]

This is the original version -

[media]http://youtu.be/sqSl7r9EC38[/media]
[/quote]
Hey man, wasn't me I'm afraid!

However I have some new videos about to go live within the next month or so, I took my old account down for a thorough re-branding! But I haven't asked any permissions yet. I use my recordings and covers as a self-promotional tool, advertising myself as a player, and as a teacher. Though I've learnt the basics of copyright law, I'm no expert. In fact, when I contacted PRS, MCPS, PPL, and the MU all told me different things. One said I needed a license, the other said not us, another told me that so long as no monetary gain in my favour, or dramatic loss of business in the holder/publisher etc. I'd be ok, and then another told me that I'd be covered under YouTubes license.

As for your friends cover, I don't see why there would be any issue. He's not claimed ownership, he's not tried to gain from it. He could always state it was for academic purposes? I know that 99% of the time excludes you from copyright infringement(Sic)

[quote name='redstriper' timestamp='1430831579' post='2764966']
Can anyone answer my OP?

Do you have to ask permission from the [color=#282828][font=helvetica, arial, sans-serif]copyright holder before performing or recording a cover version?[/font][/color]
[color=#282828][font=helvetica, arial, sans-serif]Is it a legal requirement?[/font][/color]
[color=#282828][font=helvetica, arial, sans-serif]There are a lot of videos of covers on youtube - have they all been cleared by the writers? [/font][/color]

[color=#282828][font=helvetica, arial, sans-serif]The reason I ask is because a friend recorded a cover version and posted it on youtube[/font][/color], without getting any permission from the copyright holder.
The original composer has gone mad and demanded it be removed, which it has - but they are still very angry.
[/quote]
This is the first instance of such a thing happening. As far as I understand it, you are NOT in breach of copyright IF; you do not specify what you are playing, i.e.; you don't explain what the melody is, you don't claim ownership, and you at the very least, give credit to the relevant sources. I'd be interested to know what the cover was, and how the cover was made and what it included. I've done covers myself and have thus far had no issues.

What experiences do people have of Polyrhythms? Polyrhythms help to explain the pocket as well as anything in my experience.