spacey

The latest trick is to follow bottom feeder touring bands, strange towns, old vans, they hob the van, follow it to the B+b with two cars that switch over and wait for them to park it up.

Well I am shocked, I thought here we go another push all sliders to Zero and let the compressor mix the track in to a zero DB grunge noise as just about every recording is these days. What a huge shock, the track is backed down from zero creating dimension and space you have in that last 2db gap, the secret space that real recording engineers strive to create. Hats off for breaking the grungilator compressor. A lot of so called track master mixing engineers could learn a lot here, if I want a loud track, I will turn the volume up, I want space, I want tone, I want to hear the instruments as they are meant to sound. 10/10

Any Hugh and cry covers ?

Circuit breakers wont help. The stage needs it's own earthing point as close to the stage as humanly possible. The Rule of thumb is Every 10 meters of wire away from the earthing point and the risk of electrocution trebles. If the earthing point is at the other end of the lead which is 50+ meters away and round the pubs mains board to the cold water pipe. You are as good as dead if any type of rain or short causes problems Any rcd you use can only measure leakage to a bonded earth point so wont trip if the path is via you direct to earth. A moderately competent electrician can install an earth point at the stage rigged in to the power supply stage end , or use a generator that is earthed. If the only source is a very long extension lead with the earthing point at the other end then if there is any, even remote chance of damp or rain I would suggest you do not play. These things do tend to be make do and hope for the best. Fatalities are not uncommon when no direct earthing point exists, electricity will take the shortest route to earth and if that is via you as opposed to down the other end of a long extension then it will, it is physics and many a person has won a darwin award from 240v 30 amp ring mains. If it is not a generator installed by a compliant person I would insist on an electrician certifying the power supply . You dont get a second chance with this sh*t !

Do you remember the rail basses where you could move the pickups ? I dont recall them jumping to life when you found that secret position.

A "Boot" is not a hatchback, if the "Boot" can be reached by lowering the back seats, regardless of this been the mode of theft, you will not get paid out. Been there and done that. You need to read the full contract not the summary which is really an advertisement. I was caught out by a clause on page 9 section 3:2 amendment 6 which now replaces amendment 4a of page 3 section 2a paragraph b. Or that is what the FSA said. Sneaky, very sneaky and greasy companies.

A poor little mummys boy.

Why should the dep pay towards rehearsal costs, if a band has rehearsal costs it is quite obvious the depp is a fair few pegs higher up and does not need to rehearse. You would expect to pay someone of that calibre equally or possibly a bit more.

Agree, most of the fakes were better in this era, the fact that a neck from a 70's precision bass can still be fretted and played should arouse suspicion immediately, they were never designed to last, they were modular, just buy a new neck, but the value is in originality and far too many confuse a botched up parts job with a collectors instrument these days. It is very easy to rip off novice first time collectors with hash ups who then realise that they have been had. To be valued and collective it has to be as made and often in its case, exceptions exist with rare basses as you have to take what there is. But this is not it, it may have parts of old basses, it may have none, but some mug will buy it. On the other side, some people are making fortunes out of reheated shed finds.

I can hear the track screaming out for a bit of highs and click from the bass, but modern recording methods and the fascination to make the whole track as close to loud zero level dont leave you much room. The bass fuzzilator plugin as I call it produces a lovely mid scooped compressed tone when the track is solo, but it is quickly lost in the mix. I dont know, perhaps blending in and not standing out was your aim, but I can hear the need for some more tone on the bass in certain areas. Too many tracks just treat the bass like a over and done and out of the way, who does not crave that small taste of the focused bass lift at a certain part of the track. As a bass player you have to fight to be a bass player and to be heard as a bass player. Think, where would all the heros be if they had the warm dull tone. Let it go man, next time you get a chance to record, make the engineer work for you . I have a playback system here to full studio standard and I can feel the bassline begging for some tone and compressor lift. But hey dont get upset or take offence, you post on a bass forum, expect people to ask to hear the bass. Post on a drummers forum and they will probably ask you to turn it down

Great stuff, you just need to find an Engineer who will work on a bass tone now, try introducing a mixed 2 ch of mic up up cab and di mixed unless the warm dull organ pedal tones is the sound you were after. Many recording buffs want the bass done in 1 take straight in the desk, line 6 pod effect compressor on and done. In the good old days they worked at it a bit, hence famous players had distinctive tones. Stand out ! On styles, Rublux meets foo fighters ? Who are Rubylux ? wake up...

Its not like "Jimmys strat", he had dozens and dozens of basses over his time.

The amount of fakes is devaluing the brand, even experts struggle with the precisions without doing a full strip down. Could be a re-hash, they were £150a pop second hand basses in the 80's

70's Fender precision, Black maple neck, the action was ridicules, had a new truss rod fitted, still no better, weighed half a ton, crap action, distorted if you raised the pick ups. The value was in that neck and logo, so it got flatwounded, the rod cranked until it creaked and sold. You see them change hands for £1500, must be to hang on walls.

As a owner and player of Several, some lighter strings and raising the pickups will give a better action and tone, the heavy strings can clip the pickups so you have to drop them loosing sustain, you also have this battle of neck tension verse heavy strings, try some lighter new strings, dont touch the rods, they will pull in the neck over about a week, they are more like pressure tensioners than normal truss rods, so the neck will pull back on its own, and you can raise the pickups to get that lovely piano tone association without the clipping produced by heavy strings .

Nothing has to be "registered" to be copyright and this is just a money making scam by copyright licensing grab firms. Copyright can only apply to "created" works, something has to exists in a actual form, be it a recording, a transcript in notation or lyrics in written form. Other wise there is nothing to copyright as no creation exists and you can not copyright "an idea" or something in your mind. The term is creation and copyright exists at creation. If he has a recorded version of these songs or some form of notation transcript of the creation he may have a chance. Other than that the other party can just claim they are inspired by previous songs they have heard other people play , like most songs are these days. In short, record what you write and get it witnessed, it becomes a creation then, even on your mobile phone. He wont be the first to have riffs and ideas ripped off or the last.

When you get older, you learn to put a few ground rules down that cut out a lot of later grief. The first one been if a member does not want to gig are they and the rest of the band going to use a dep or turn the gig down out of loyalty. If the answer is turn the gig down you know the band will never get out of the trap and round the course as it is saddled to the slowest laziest member. Sure your band may gig, but the chances offered on the way to increase the bands appetite will be squandered.

The rods are a bit mad, but you can have the neck exactly how you want it, flat, curved, twisted, peaked. Often wondered why more dont rely on twin rods.

First the police, now Jamiroquai, wonder who is next for the assimilation treatment.

Stick with a tried an tested brand and buy second hand , so he has equity in the instrument . A better precision may be the way, the Squire VM precision is very good indeed and leaves money for a gigging amp.

Just poor workmanship on instruments. You dont get one of violins.

Dont you just love the people that call you up asking you to join their band then say its two gigs absolute max a month. Ok you say, if it fits round my other commitments. Oh, no you can not be in another band, you need to totally "commit" to this band. And the other 29 days of the month I can not do anything but sit and wait until your band decide to do a gig ?, thats commitment when the rest wont gig the other 3 weekends. Thats not a band mate, it's someones hobby. Yet they want to "rehearse" once a week ? every week.

Two octave neck basses ??? buy a guitar !