JamesBass

[quote name='D.I. Joe' timestamp='1366583779' post='2054611'] While this is true, it depends how you set it up. I use mine just to level off harsh peaks and even out the sound sonewhat, but not as to squash it and eliminate dynamics completely. That would be silly [/quote] That's what I meant, bloody brain getting ahead of what was on the actual page! [quote name='EMG456' timestamp='1366627917' post='2054959'] Some of us don't find that compression in the signal chain gives a more "punchy" sound. It will certainly give you a more even sound in terns of levels and do things like simulate longer sustain from your bass but I prefer to have the original dynamics in my playing preserved as much as possible. With strong consistent technique, you can eliminate the use of compression from your live playing altogether and reduce it's use in the recording environment to a bare minimum - after all, the less gubbins between you and the speaker which will finally reproduce what you're playing, the better, no? The use of compression as an effect is of course something different. (Runs for cover) I see he plays mostly fingerstyle but throws in a bit of slap for effect - some basses (yes even high end ones) do not produce consistent volumes between fingerstyle and slap techniques so he may have used the compression to help mitigate this. Anyway, at least part of what makes this a nice punchy sound is the cleanness of the playing and in particular regard to note lengths and dampening. Not only is the start of each note nicely judged and executed but also the end of each note - gives that nice contrast between note and space and helps give great definition to the rhythm and groove. My tuppence worth! Ed [/quote] Don't get me wrong Ed, compression isn't the only thing in there, a lot of clever EQing has been doing on that track as well, yes the technique plays a part but not quite that much in terms of the tone and punch. Personally I don't actually use compression live at all, I like dynamics and that very raw feel you can get from not using compression, in the studio I ONLY allow light compression on the bass, it doesn't need much on any instrument in my opinion, drums yeah fair enough, guitar, bass, vocals and whatever else people use in my opinion and experience just doesn't need anywhere near the amount of compression on modern recordings, I am generalising there but compression isn't needed if you're just going to re-compress everything so you can send an MP3 about!?

Compression can remove all dynamics, so the signal will seem to be all one volume, then with some EQing you can make the signal seem very large and punchy as there is no dynamics, hope that helps

If you treat the band as a business, then you need to be VERY careful with what you do book wise, make enough money EACH, and Mr Taxman may come looking for you, depends how you guys run it. Do you invoice the venues/promo companies? Are you signed? Do you aim to get signed etc? The way I've been taught to run anything music based, is to be STRICT, keep ALL receipts, update the books as soon as you can, day by day if you have 30 mins at the end of the day, you get caught not doing what you should be doing and HMRC will crash down on you! I'm so grateful that my HND Music Performance degree covers this stuff otherwise I'd be clueless! Treat the books as serious as possible. Expect that there will be several months where business will be down, it's the nature of the industry. Excel is your friend for this, keep it simple to read and under control, personally I only use formulae once I've finished the month. If you need any more help PM me and I'll see if I can shed some light, majority of things though are on the HMRC website and the Gov.uk ones

Cheers for the replies guys, I'm in the really early stages of beginning to look for an amp, have come across many Valve amps, but am feeling fairly fussy and would HAVE to try before I buy, especially as I'm an unemployed student but I can look and dream Cheers again guys, helpful point in the right direction there

Bloody hell what is with that thumb!? That can't be healthy! There is a LOT of production on his tracks, sounds like a good amount of compressor and some smart EQing to me!

Maybe an original number that has a long synth-y intro with loads of pre programming could be used? Entrance music isn't everyones cuppa, it's certainly not mine but if it's done well I can appreciate it, have a play and see what your band would rather, start to narrow it down between a classical piece like Mars or Hall of the Mountain King, something satirical like Barbie girl? Gangnam Style Or an original number?

The OP asked for some feedback and unfortunately in everything, feedback has lost the critical angle, critiquing is what people want, yes we all want to hear "Best thing ever" "Future number 1" but that NEVER improves us, pointing out flaws while also giving an insight to how it could be changed to be better can be awful to hear one day but go back to it and try it out as begrudgingly as we ALL do and find it fits then you'll be pleased with it! If the feedback is harsh and abrasive and tells you its crap then yeah, get on the guys back about being too harsh. For what it's worth, my 2ps worth would be: The melody is nice, could be a bit more fluid with what in my opinion is a stunted and not fluid strumming pattern, perhaps picking the notes instead of strumming on the intro would improve the feel? The chord progressions are nice, very standard sort of feel, no crazy 13ths and major 9th chords in there, from what I can hear! The girls voice is nice, great mix on that, very natural with just a hint of effects. The instrument mix for me doesn't do it, the bass isn't punchy enough, the drums just don't lock in and create that nice strong backbone, they play the right things in my opinion but how they are seated in the mix just doesn't do it for me, maybe a revisit to compression might help, some more make-up gain, a softer ratio? Or the EQ balance could be shifted to cut some of the low end frequencies to create the space the bass needs down there? It's a good little song, very listenable and very simple, which most ballads are! Most importantly are you and the guys who recorded it with you happy with it? If so then discount what we have said I will add once the full band are in it's good Good luck with the future songs, looking forward to hearing some more of your stuff

I've been looking lately for a valve head, I'm bored of my Ashdown combo and fancy taking a step up to a valve amp, I've always wanted one and came across Philosophy amps, anyone ever heard of them or seen or used one? http://youtu.be/gsWRiZlWV0Q

[quote name='Dingus' timestamp='1366201352' post='2049489'] That bridge looks great , don't change it ! Why do so many people dislike the look of Badass bridges ? I am a big fan of them , both looks and sound wise . They are great bridges and look like a serious bit of kit , too .[/quote] Don't get me wrong Dingus, the badass is a cracking bridge, on some P Basses it looks and just is right, but for this I don't think a big lump of metal can be justified, especially with all the other classic styling going on. There's just something right about a P Bass and a threaded bridge, I guess as well it matters on just how much sustain you want, would be interesting to hear the basses compared with and without the badass to see if there is any noticeable difference in tone.

I think all the Cabronitas are Classic Player series but MIM, the prices on them are a bit cheaper than the other Classic players?

The ability to get up on stage look at the drum and groove, not only that you need to be talking to the right people, you'll be surprised by the ease in your local area that you can find some low paid "session" work, would be more depping unless you're a Londoner in which case to find that work you need names numbers and a portfolio of recordings to show people

The old sh*t sandwich works best in my experience, start off with something good, then give them something negative but in a constructive manner, then end on another high. It's never good to be rude or negative towards beginners because at one stage we were like that and at least they've asked for some help and some direction, that's the only way to learn! Think of giving advice as a compliment to yourself, the way you come across to a beginner shows them just how good of a bass player you are with respects to teaching, there's no harm in being out played eventually by someone if that someone has worked hard and has the skills and knowledge to back it up.

What ever it means, it sounds incredible, especially with just that nice level of distortion. Wonder what it would be like through a nice warm valve amp...

Gotta agree with most people in here, not a fan of that bridge, so if I brought one I'd change that. I'd personally love a slab bodied olympic white with a tort pickguard and I'd want the other style head stock. Billy your custom is absolutely lovely! Looks beautiful!

So Fender have released a Cabronita P bass and I gotta say it looks lovely! I'm eagerly awaiting finding one to have a little play on! Anyone else taken by the Cabronita style? http://youtu.be/KH9u9aOOiNM

Hi SpaceChick, I've got a pair of Sennheiser HD 25 SP II and they are phenomenal, little bit more than your price range at £80 from Currys though, I'd imagine the HD419s should be ok if you can go to a store and try them then that'll be best. Check this link out as it shows you the frequency responses of pretty much every headphone available it's amazing! http://www.headphone.com/learning-center/build-a-graph.php

[quote name='Chrismanbass' timestamp='1365285102' post='2037754'] i charge a 6% finders fee [/quote] Haha you'll be lucky

Well it depends on the situation, I find myself often writing songs as a whole in treble clef and almost exclusively late at night so I start by just noting the melody and harmony down in chord form as well as humming into my iPhone, then when it comes to the next day, or when I have time I'll take the time to start writing it out on treble clef then once the song is finished I'll write my actual bass line with fills and runs when I know where the space is within the song, in bass clef of course Although I never read from the notation as I memorise the song through repetition of playing, the notation is a backup and a physical copy incase, god forbid, copyright issues arise! I jog my memory by using lead sheets that I make up for the rest of the band Chrismanbass: I HAVE to have one! I don't need it but it's so cool! Well there's that occasional stationary loving organised me coming out

The UK music scene in my experience is really mixed, currently in the South, Bournemouth, Southampton, Portsmouth and to a lesser state Brighton as well as Guildford and London, there is a HUGE scene for post rock/hardcore. Music where it's dropped D/C screaming vocals but apparently the lyrics are about good things, not those dark lets kill someone for the devil and them metal esque lyrics but it still sounds exactly the same! It all depends on what type of music you are after, Germany has a big music scene, Romania apparently is great for Rock too.

Totally different instruments and totally different mentality to play both to a pro level, equally challenging in my opinion

If you're a Saints fan then surely you want to see us survive and on a level footing with all the criminal owners long gone, even if it's just so we can meet each other in the cup and get hammered by your lot! Dingus I understand your sentiments and I actually agree, however the club are trying to be taken over by the supporters who won't run it badly, that's why we got in to the mess we were in! I personally intend to underwrite all previous ownership and results of the last 10 years as it's been a farce! The club shouldn't have been subjected to such blatant and awful mismanagement! The fans and the city shouldn't be punished for the owners running the place we had no say in it! Let's not only help the club but most importantly for me the music scene of Pompey!

Can I ask everyone who gigs in Portsmouth or who go to gigs in Portsmouth to check out this page on Facebook and help not only support the music scene but also the club! Even if you don't like Football or are a Southampton fan Come along to events and support the local bands and listen to some great music! Thanks everyone. http://www.facebook.com/PlayUpPompeyMusic?fref=ts

If you get a squash ball, place it between your thumb and fingers and squeeze, do that for 5 reps, as if you were in the gym doing weights and then change finger and work your way through that a few times, you'll be surprised at how much stronger your fingers will get and the quicker you can do it the better as well for agility on the fret board. Also adjust your strap so that when you are playing stood up your left wrist isn't bent too much as you'll cause some problems with RSI and the like. As with anything make it comfortable for you and just practice and practice and practice! A good exercise I do/came up with is running up the neck on the G string i.e; 1st finger 1st fret up to the 4 fret, then jump 4th finger 4th fret on the A and proceed down, then 1st finger 1st fret D and up the neck, 4th finger 4th fret on the E and down the neck, try and make it OFPF if you can't then just do it till you can, do that a few times in your warm up and you'll soon have the hang of it!

Good to hear Stoker, my Ric is gonna have her first gigging outing on wednesday, already done some recording with her and she sounded huge! So distinctive and cut exactly where I want her to! So much punch and tone

Pino is simply sublime, he's got groove, feel and appreciation for everything he does however for me, he's just not right in The Who, you can NEVER get close to John Entwistle for that style of music, tone and feel wise he'll trounce Pino in John's genre, Pino is without doubt the MUCH MUCH MUCH better bassist in an all round music environment apart from Rock. Has anyone else thought that Pino also looks like he's one of those Aliens from Men in Black? Anyone else see what I'm seeing?