The Badderer

Just to clarify, I'm here and I have a bass sorted

I haven't been on here since September, but this was the 2nd thread I came and checked out.... and I'm not disappointed in the least!! STUNNING BASS!

Well I'm here and have time to check on bass chat for the 1st time since september! I got the Squier James Johnston Sig. Jazz bass.... and WOW what a great bass. cost me £265 from new (USA prices), and there is barely any difference between that and a USA Fender. Great build quality. Great tone. Job done. When I get home I will be having a serious clear out of some of my basses.

In answer to above questions. My Warwick is a 2004. The neck's not mega chunky, but just noticeable enough to make playing for 2-3 hours at a time quite tiring on the left hand in comparison to a Jazz bass. I can still play totally fine with it, but it's just not as comfy for long plays needing stamina.

[quote name='Mykesbass' timestamp='1442177839' post='2864974']
Just had a quick listen to Deep Purple Made in Japan, a Led Zep track from Danish TV and The Band, the Last Waltz, all sounding pretty decent off youtube through in-ear bud earphones. I'd beg to differ with The Badderer and say that it has probably deteriorated through later transfers, and not the earlier BBC work. I'd imagine channels like Yesterday are working to tight budgets, so ensuring top quality masters isn't going to be high on their agenda.
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Thanks for posting that. I completely agree and was trying to articulate what you put so much better than I did!

I would be inclined to say that it's probably more likely an issue with how the sound was translated onto TV or recorded by the BBC in those days. There have been massive improvements in how to record and copy across audio into video formats. I'm sure modern gear is superior in many ways. Paying over the odds for old vintage amps/cabs is different from paying a lot for vintage Fenders (IMO etc.). If you want a vintage amp / cab but built to modern standards then you can order them from custom amp / cab makers who can just replicate the design, but have better components / QC.

[quote name='enssorcel' timestamp='1441292226' post='2857650']
Is this the old classic vibe jazz? Love the look of these. I'm going crazy for anything lake placid blue at the moment, white pickguard on blue bumps up the GAS even more... That matching headstock as well!

Also got the fretless GAS, especially Corvettes. 6 string Ibbys got me salivating too.
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I'll post some photo's and a NBD shortly, but yes it is a Squier CV Jazz James Johnston, and it is awesome!! Played it live at a 10-15 mins audition and it was on the money straight off (I got on to the team!!). The shop I got it from did a decent job on setting it up for me. Neck is excellent. Tone is great. Difficult to tell any difference between this and my US Fender Jazz.

My only minor (and I mean really minor) annoyance, is because the side of the neck is so shiny, there are times where if you're looking for a White dot position marker, it's difficult to see and the end of the frets can end up looking very similar to the white dots under lights. I'm thinking of doing a very light sand of the side of the next just to take the shine off. But the neck is really smooth and lovely to play.

The bass looks awesome in the flesh too. Slightly different from how you'd imagine from the online pics.... but better!! Colour is deeper. The matching headstock looks great!

After all of the above, BA (to the best of my knowledge) changed their baggage policy. Initially on multiple readings I am 99% sure it said, they will take Musical instruments for free in the hold, as well as your 23KG baggage allowance. Now they are saying, that was never the case and the instrument was always part of the baggage allowance and they never allow instruments in the cabin (unless something small that will fit in the overhead lockers) unless I wanted to buy an extra seat for it.... yeah because the spare ticket is probably twice the price of this bass below

So I will be going to the US with no bass, and buying.....

[url="http://www.sweetwater.com/store/detail/JBassJJLPB"]http://www.sweetwate...tail/JBassJJLPB[/url]

[quote name='ambient' timestamp='1440503686' post='2851297']
There is a 3rd, have you heard Steve Lawson or Michael Manring ?
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Steve Lawson was in there at 7:30

It's something you have to keep repeating to get the mouse clicking in time. My foot was staying perfectly in time, but I'm buggered if I can manage to click my mouse pad in time with my foot. Progressed from 700 - 823 but really can't be bothered to keep hitting my mousepad!

[quote name='Lord Sausage' timestamp='1440010391' post='2847589']
Yea but if you are being flashy and screwing up, then you aren't being flashy you are being sh*t!
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I think what we have is a difference as to how we have been brought up to use the term flashy. I guess for me it has always carried that feeling of being a bit showy off regardless of the result. I guess I view it as flashy and good or flashy and pants.... I think it just comes down to how you were taught that word when you were little. I'd agree if you are being flashy and rubbish, then you are rubbish and look like a monumental tit. If you are flashy and holding it down solidly, then your are just an awesome bass player!

To clarify Lord Sausage, where I used the term flashy in my description, it is not saying that a bass player can't be the main focal point of the band, or the one playing the most interesting complex flashy (in a good way) licks. I'm not saying a bass player should be the boring person who stands at the back playing roots (or 3rds if feeling adventurous). What I am saying is that if a bass player spends his time just wanting to show off flashy (or pick another adjective) skills, to the detriment of the band or the music they're playing, then they really need to be asking themselves 'am I doing my band / the music justice'.

If you can play all the licks and still keep the feel of the music then more power to you. It's great seeing it being more and more commonplace for bass players to be stepping forward. My point was merely, better to be solid than someone playing flashy licks who can't get through a set without screwing up because they haven't got the basics sorted. If you can be solid and dependable and get through a set without any screw ups, then go ahead and be flashy and solid at the same time. Even better! But just being flashy, yet unable to remember when you transition into a chorus / bridge / middle 8 or what order the chords are in, is the wrong way round and wrong priorities for any musician, but especially a bass player.

Solid is a compliment. It's probably one of the most important compliments a bass player can receive. It means you're doing your most important job first and foremost and creating a solid foundation that everything else in the band builds from and works around. Being a solid bass player is a massive step towards being a great bass player.

You find me a flashy self obsessed bass player who wants to play all the showy bits and show off his chops, but can't reliably get through a set list without having played some wrong notes or not held the groove or tempo, and you'll have found a crap bass player no matter how great his flashy skills are.

Wow! Never knew there were so many things to get hung up on!

Aguilar Agro would work quite well for this. Also a Mad Professor Blueberry can get pretty gnarly.

The Darkglass B7K as an option will give you a whole host of sounds that are tweak able because of a good EQ section. The question for you is, Is the character of the sound fundamentally what you're after?

I think the point 1) is one of those unspoken rules. You aren't breaking the law to a criminal extent by making your own personal copy hence why they then leave it to the owner of the rights to sue you in a civil court. If you aren't doing any harm with your copy then you aren't going to get sued. If you decide to start DJing with it, then you may find yourself in court.

It's like people recording TV. everyone is allowed to do it, but you then aren't pursued for still having copies of films 3 years later on.

My understanding was that you are allowed to have one physical and one digital (i.e. MP3 etc.) copy of the original that you have purchased. Copyright only covers you being someone distributing music TO other people. If you have bought legally a CD or MP3, you can convert them into any format you want if it is for your own personal use. It is when you start GIVING it TO someone else who hasn't paid for it that you are then in breach of copyright law.

Obviously I am no copyright law expert and accept that there will be far better informed people to tell me where I'm wrong.

Hardly used since I bought it from a bass playing elephant wearing hobnail boots

I would far rather play Are you gonna go my way than Teenage Kicks. At least there's something interesting in it. Teenage Kicks is one of the worst songs I've ever had to play. Utter crap. (Apologies to any fans of the song/band, I just think it's terrible and simplistic and had to play it for a couple of years in a band where it was one of the only songs one of the people in it could sing, so we had to keep it in the set whilst he was in the band).

For simplicity a mixing desk or a looper/switching system will be nice and simple and all controllable by hand / feet.

If you wanted control of your Audio Interface you could look at this http://www.behringer.com/EN/Products/FCB1010.aspx which allows you to control any track you are running via MIDI. So you can have tracks loaded going to the different outs and using the routing of Logic, and you can pre-program them to do certain things. You can then use MIDI footswitches to trigger tracks and use expression pedals to control any effect / parameter you choose to program. It's a lot more complex than running into a mixing desk etc. but as you get better at programming / routing through your Audio interface, over time you may find it opens up certain things for you musically.

Well it looks like a decent Audio interface.

My comment about it being good was aimed at the latency figures you get from it. It you've got too much latency then you'll struggle to use it accurately live (aside from running tracks etc.) If you're getting low latency from it, then can't you use some of the outputs to run your macbook into the chaos pad and looper etc. You're looking for flexibility of running your Macbook and bass into different pedals etc. I'd look at using the Audio Interface 1st before spending any money. If that doesn't do what you want, then looking at something like a mixing desk or a custom router / loop / switching system might be your next options. Don't underestimate your Audio interface.

out of interest are you using a decent audio interface with low latency and multiple ins/outs. I've seen some of your posts in the past and thought.... this guy needs a decent audio interface. I had just the same thought now. If you did you would have a lot of control over where and how you routed everything especially if a Macbook is already part of your set up.

I had a funny thought. When his back is turned, wire in a tuner pedal on a long cable into his FX system. Then whenever you want to talk just stomp on the tuner pedal that is now in your area.....

^^^ always good to have something more powerful than what you need (if it's solid state not a valve amp). Headroom and not needing to push the amp hard are always good things. With a Class D, far better to have too much power with an RH750 than try to get by on a class D at 250-300W only to find you're pushing it quite hard up to its limits. (let's not get into another Class A - A/B - D debate as there's a thread open for that...)

or you could go with 2 stacked pots each having volume and tone for each pup. looks well cool too!!