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[quote name='BigBeefChief' post='564974' date='Aug 10 2009, 01:54 PM']Preferably a shaved Philipino.[/quote]

If you play originals & some of the songs are written around basslines, then your band will have realised that you are a major component of the band's sound. My band have told me this whenever I miss any rehearsals, but if we had a gig & I couldn't make it, I would ask them to get someone & I would go over basslines with them if they wanted. I know my job is safe in both bands, not because I'm good on bass, but because I help write songs & I get on great with the band (I didn't know them before we formed except the guitarist who I knew from work, but didn't work beside). I didn't vote because none of the answers fall under what I would do. First one is closest tho. Good luck with your next gig.

Kurt Elling - the Waking. Just bass & vocals. Have a look at some Manring for just solo bass.

I'm gonna come up with what some might call a silly suggestion. Have a look at the Ibanez range. They're all 24 fret & cover more styles than most other basses. Or you could go for a 5 or 6 string to get the notes you think you're missing!

This is something I'm seriously considering. Been looking at Warmoth & WD music for parts and also looking on ebay.

another +1 for the CMD102p here. Does all I want it to & never grumbles.

I bought one in the late 80's & just put it in the bin last week. Cost about £80 back then s/h & sounded sh!te. My bro blew it up in the late 90s, then 2 years ago me like a fool, put it into a cowboy music shop in Stirling to ask if it was worth getting fixed. Phoned me back a week later to say they'd fixed it & that would be £45 thank you, tw@s. That's more than it's worth in a working condition. I got it back & then about 4 months later I plugged it in for about the 3rd time & it packed in! Kept it for a while as I thought I might use some bits off it & then last week I had a clearout of rubbish. If it's more than a tenner, don't buy it, they sound total crap.

That's a nice bass you've built. I've been giving serious consideration to doing a build course. Bailey Guitars in Maybole do build courses & have considered that. The thing that appeals about the bits idea is that I can spend more time on it as & when I want. If I get a 5 string body & neck I can spend time preparing them & getting them how I want. There's a couple of decent bodies on the Warmoth site that would suit. Is there a UK distributor for Warmoth or would I need to ship from the US?

I've been planning on getting a new bass for some time now but I'm still undecided. I was going to get a custom made luthier bass, but I'm liking the idea of getting all the parts & putting together my own custom job. If I go down this route, I plan on building a 5 string Jazz or something similar that has a wealth of parts at it's disposal. Other options are to get a body cut & routed that will take fender fitting necks (easy to get hold of & can try Jazz or P bass necks to see what I prefer), or to get a bass with a straight thru neck that has nothing on it (no p/us, pre amp, etc). Anyone any ideas on doing this as opposed to the luthier option? I was looking at Warmoth & a few other similar places & found these... [url="http://www.mercasystems.com/"]http://www.mercasystems.com/[/url] Anyone heard of them? They're Spanish.

Welcome to the forum Garry. I used to be a Stirlingite (or whatever we're called), but moved up here. The music scene in Perth is pants too. Most of our gigs have been in the Dunblane area! We did a support gig in the boating club in riverside which was a good little gig a few weeks back, but other than that we haven't played in Stirling.

Another British Luthier that I mentioned elsewhere is Baileys Guitars. No idea how good they are tho.

Yes, I noticed that there was bits missing from a few songs as well. I doubt I'd pay for this as I learn the majority of songs by ear & if we cover anything then it is our rendition of what we think the song should sound like as if it was us who wrote it, we don't try & clone the original

Never seen it before, but is it just me or is their "Expert" section a bit on the Easy side? Still, good to find some tab that's not miles away from the actual thing for a change.

[quote]The Moog recommended above isn't especially good as an envelope-following filter IMO, but is useful as a static filter for making synthy sounds, or doing manual sweeps with an exp. pedal.[/quote] I haven't really tried many other envelope pedals, but I found this follows pretty well & also link the env out to my murf to get some interesting effects that depend on how hard I play. Might depend on the level coming out of the bass? I usually have the exp pedal into the resonance amount to add how much squelchyness I want. [quote]Where from? Most places I've seen are £200 without the expression pedal![/quote] I got mine from a local music shop for £149 & got the pedal from DV247 for @ £30. Got a tap tempo for the murf which hardly gets used I need to play with it more!

Moogerfooger MF-101 with exp pedal = £180. Does some lovely sounds but some folk don't like the tone suck, I like it for the subbiness & moog sounds

I think in this economic climate they could build Marshall gear back in the UK & still have cheap labour but with higher skilled staff (people who know what a soldering iron is or what "Quality" actually means).

Just a thought... Would a virtual psu work on an active bass? That is assuming you had room in the cavity for it or it had a long enough wire for you to put it on the strap! It's something I've never tried (only due to not owning a virtual psu).

I feel your pain on this. 2 options... Trading standards as said before, or Superglue in the locks of the scumbags' shop shutters when they're down.

Err, sounds like it's a waste of time going to Leeds for a music shoppe! I'm off to York at the end of Sept & hope there's somewhere 1/2 decent (surely there must be).

I'm surprised no one has mentioned lower end Ibanez basses! They're surprisingly good for the money in both sound and build quality.

I usually spend ages looking at the bass & checking notation & just how it feels. Then I see how long I can play the bassline to "The Void" by the Beatles before I get chucked out!

I found learning to slap can take ages. I gave up tonnes of times & had been playing bass for a good 6 years or so before I started to get anything that resembled a 1/2 decent slap sound (a bit of higher ground). I'm still no great slapper & only have a couple of songs that involve any, but I do enjoy it when I do. My advice, as Lylodile say's, start with a thumb, then a finger, then get your deads, then bring in another finger & in 10 years time you might be as good as me!

I don't see how slap can be described as cool or uncool, is picking cool or uncool? To me it's a way to get the sound from the bass that suits the song, whether that be picking, slapping, tapping or fingering (I do like a spot of fingering :brow: ) or whatever else needs be. I am partial to a bit of overdriven slap with an envelope played at a slow to moderate tempo. Some might call that uncool

[quote name='skankdelvar' post='535702' date='Jul 8 2009, 02:19 PM']I just start with the roots and some really easy transition passes. After that, I'm not really competent or interested enough to plan a bass line. Once I'm playing the song with a band, I just sort of turn my brain off and think about other things, like "What's for tea?" or "Are we going to get canned off?". At that point, more interesting stuff just kind of emerges by accident. Trouble is, this means I rarely play any song exactly the same way twice.[/quote] Are you sure you're not really a gu*tarist that bought a bass by accident? The Gu*tarist in my band is just like that, comes up with some fantastic stuff but we could play the same song 20 times & to him it would be 20 different songs!!!