Norris

Has anybody called the church to tell them one of their pews is missing?

[quote name='lowlandtrees' timestamp='1376642986' post='2177160'] ... I had always assumed that string gauge and tension were directly related. How do you know which strings are high tension and which ones lower (probably a tigga nooby question) ? [/quote] They [b]are[/b] directly related. The note pitch depends on the length of the string (scale), the mass of the string (gauge/thickness) and the tension. The length of the string is usually fixed - by scale length & fret positions. The gauge and tension are then inversely proportional - the thicker the string the tighter it has to be to achieve the same pitch; to get lower tension you need lighter/thinner strings. Edit: Many years ago (before the days of Internet forums) I had a 4001 and adjusted the truss rods without any prior knowledge that it was [i]supposed[/i] to be a difficult job. I didn't have any issues and got the action nice and low to suit my strings. Just be careful & logical and make sure the neck doesn't twist i.e. that the two rods have the same tension. Make small adjustments to both rods and never use excessive force.

Like matski, my Ric sounds great whatever I do. However, I can't get a nice round funky Precision-like sound even with a severe mid cut. It sounds cleaner on a single pickup than on both, but still has that Ric 'fizz'.

Active basses 'Coffee table' basses Brown painted basses Maple fretboards Pickup covers Non-triangular plectra (plectrums?) Slap bass Stickers on basses

I don't like active basses or thick necks ... but have GAS for a Stingray

If you're mainly after looks rather than sound, check out [url="http://basschat.co.uk/topic/197657-spector-rex-20004-holoflash-thunderbird-and-upgrades/page__p__2166289__hl__holoflash__fromsearch__1#entry2166289"]Cetera's Spector[/url], 'cos that looks gorgeous

I'm nowhere near Windsor, but if you're ever in the Leicester area you are quite welcome to try mine - although the TRC has been removed .

The main riff is B-D-E (gap) A-G-E-D-B-D-E i.e. all open or 2nd fret (the guitar plays above in 5ths) The rest is just a 12-bar 6/8 arpeggio, isn't it?

Did it arrive from Korea by being towed along behind the boat?!

If you're having difficulties picking out a bass line, try pitch-shifting the track up an octave. There is free software available that will do that kind of thing, such as [url="http://audacity.sourceforge.net/"]Audacity[/url]

[quote name='njr911' timestamp='1374578779' post='2150325'] Does the mixer care if the speakers are powered or passive ? As you can see, I know nothing! [/quote] Powered PA cabs take a line level signal - in other words no need to lug a huge great heavy amplifier around (or the additional weight of a powered desk)

I'd suggest getting some powered PA cabs - Mackie thumps or SRMs are a little more expensive than Behringers, but worth checking out. Then you can use a relatively cheap mixer with as many inputs / monitor outs as you need. Edit: And if you're not making enough money to replace/upgrade equipment then you're not charging enough

I use a GT6-B into my Peavey Databass combo; the pedal provides the tone, the combo amp provides the power (in a very compact size!). Being a pub covers band we don't have a massive PA, and rarely use any monitors. I often get comments about the "great sounding amp for such a little one" - I've given up trying to explain. Yes, the amp does sound good on it's own, but with the pedal I can switch between valve emulation (SVT) and a nice clean funky tone (basically the amp's 'native' sound), and I have every effect I'd ever need just a patch copy/tweak away.

MIDI-controlled robot hands FTW!

I'd go for LED cans. Pros: Cheap, don't get hot, can change colour, don't have to change blown bulbs. Cons: Not quite as powerful as incandescent bulbs unless you buy more expensive ones, more limited colour range (gamut in techie-speak) than gels. You'll probably also want a DMX controller. They are not too expensive, but avoid the cheap ones due to compatibility issues. Check out the [url="http://www.thomann.de/gb/stairville_dmxmaster_i.htm"]Stairville DMX-Master 1[/url] on Thomann as that will control most DMX lights (including scanners - moving lights like DJs use) and is just under £100. Although most LED lights have an auto colour change mode, they will drift out of step with each other over time, plus you are stuck with the colours the manufacturer chose for the sequence. You'll want the controller to keep the lights in sync, to program specific colour changes & cross-fades, to use a blackout, etc. The controller I linked above has a useable sound to light mic but can also be connected to the desk. It doesn't have a foot controller though (I couldn't find any foot controlled box that would do a decent job). You'll appreciate the cool running of LED lights, but you'll need to use more to get the light levels up, especially when using saturated/deep colours. I light my trio with 4 of [url="http://www.thomann.de/gb/stairville_led_par_56_alu_schwarz.htm"]these PAR-56[/url] cans (£30 each on Thomann), all running off the same channel to give a single colour wash. I'm thinking of getting a moonflower as well. I wish I had seen [url="http://www.thomann.de/gb/stairville_led_par56_starter_bundle_b.htm"]this bundle[/url] when I was buying mine though - controller, 4 lights, one stand and cables for £315. You'll probably want more than 4 lights though to light your band - more like 8 depending on size of venue.

We don't have a set list, just a list of songs that we do, written on the back of an old cornflake pack! . The guitarist calls them out... and not always from the list! Often the first the drummer and I know about it is when he rips into the intro. It's not as bad as it seems. We like a bit of banter with the punters, and the lack of a fixed set list gives us a lot of flexibility to adapt to the situation & audience. We often do requests; even if we don't really know the song we'll have a good go at it. The one thing that does throw me is when the guitarist starts playing a song that I really don't know, as then I'm stuffed. We do sometimes write out a list if the occasion calls for us to appear a little more professional, but on the whole most of our gigs are very relaxed - and is why our audience comes to see us. In fact I'll name it - "Lark Rock"

I've been fired once, back in 1985. We were doing a summer season at Butlin's Skegness (yep, living the high life!) with a fairly well know Leicester-based "show band" - and if you were around that area in that time you'll know who I'm talking about (may he rest in peace). Anyway the band consisted of the 'name' on keyboards, his girlfriend (he was devout Catholic & divorced) on vocals & occasional keys, then myself on bass, the guitarist & drummer - the three young guns. We were the main resident band playing 6 nights a week in one of the rooms - the one where all the kids & youngsters not old enough to go in the main concert room stuffed their faces with chips and did knee-slides across the floor. During our breaks the three of us youngsters used to do a quick tour of the other rooms to check out the touring bands - the ones that did a circuit of the various Butlin's camps. On the night in question, we had done our usual tour round the camp and were just heading back for the next spot, when we ran into the entertainments manager i.e. the top bod on the entertainment side. He stopped us for a chat, meaning we were 10 or 15 minutes late back. The 'name' used to quite like a nip of brandy and had downed a few over the course of the evening as usual. He was always very concious of fulfilling his contract and making sure we did our allocated slot times. When we finally turned up to go back on he fired the three of us on the spot for being late! being professional we finished the last spot of the evening, but with a bad atmosphere hanging over us. The following morning the three of us ex-members met up in one of the caravans we were staying in. Full of vitriol, we decided we would split from the band and form a trio. After all, it was really the three of us carrying the band anyway. About an hour later the 'name' had shaken off the brandy haze from the night before, listened to his missus and decided that sacking the core of his band when he was supposed to be putting on a show that night was not the best move he'd ever made. He kindly informed the three of us that we were still sacked, but could take as much notice as we liked! Anyway, we finished of the season, went home, and formed a trio that played together for the next 10 years. I am still playing with the same guitarist - 28 years later!

The Cheeze - pub trio doing mainly 70's rock covers, but a lot of other stuff too - a "trio for all occasions"

This prompted me to do a search and look what turned up ... [url="http://www2.gibson.com/News-Lifestyle/Features/en-us/introducing-the-2009-325.aspx"]http://www2.gibson.com/News-Lifestyle/Features/en-us/introducing-the-2009-325.aspx[/url] ... the Holy Explorer, a 2009 limited edition (although the link from that page seems to be broken)

Buy a cheap Squier or MIM Jazz, then upgrade it as financial circumstances allow...

Any open instrument case = cat magnet Edit: I hope they are not gut strings

[quote name='skankdelvar' timestamp='1372629238' post='2127973'] I went to the first one in [url="http://en.wikipedia.org/wiki/Glastonbury_Festival_(1914%E2%80%931925)"]1914[/url]. ... [/quote] That's got to be the best post I've ever seen on Basschat. You buffoon!

[quote name='bartelby' timestamp='1372315556' post='2124089'] I mainly check BC in work these days. By the time I get home and sort the kids out I've forgotten that there was something I needed to check out... :-( [/quote] ^ This ^