Dood

The @Tech21NYC Q/Strip would be an excellent choice as I found in my own review I was able to add that kick drum slam to my slap bass notes. I still want one.

It’s a propensity for a signal path from bass to cabinet to support or accentuate the 60hz to 200hz region of the audio spectrum. Either by boosting these frequencies or by dipping out other higher frequencies. (Sometimes attenuating areas of the audio spectrum gives rise to the perception of boost elsewhere) An amplifier and cabinets ability to deliver powerful sound in the 60hz region will certain help to accentuate the effect. Some think that the ability for an amplifier to deliver sub-30hz is where heft is, but considering the Ampeg 810 is considered a ‘hefty’ (lol) cabinet - it doesn’t really produce much below 50hz. I like to think of it as the slam you get from a mic’d up kick drum, whose fundamentals tend to be around the 100hz region (though lower frequencies exist in the sound) Another consideration is that SFX’s Thumpinator that removes all frequencies below 30hz doesn’t remove perceived ‘heft’. So, given you have an amplifier that is capable of delivering powerful transients in that audio region and a cabinet that helps to accentuate said region you will perceive heft. Finally my though for the day.. EQ on amps. Ever noticed that some will have centres that are like 40hz, 500hz, 1khz, 4khz etc? Well yes there is over lap, but for me so many amplifiers don’t focus in on what I feel is a very important region; that of the 100hz to 3-400hz region where our important 2nd harmonics live and also that all needed weight in the sound. Parametric EQ is where it’s at for me! I can add heft to a bass sound without an amp or cabinet. For the “D Class is evil” folk, I’ve always thought that a lot of these amplifiers appear to sound clearer and more aggressive in the higher mids and lower treble frequencies. Given my point above, I wonder if this is one of the reasons that certain D Class amps are perceived as “less hefty”. The heft is there, more it’s being masked - our ears work logarithmically and are way more sensitive to treble frequencies.

Oh whilst I am here, Go Play Along 4 is a clever application if you have access to Guitar Pro files or similar and the original song recording.

Agreed, it can do a good job, much like RiffStation used to, but with complex chords or layers of instruments it's no surprise that it gets confused. For example, a GMaj7 chord without the G loud enough for the software to detect will be heard as a Bm chord. I suspect that most people using Chordify may not understand the relationship between the two chords (no problem, everyone is in a different place in their journey as a musician) and this could cause some confusion. A track only has to be slightly out of tune (see THIS thread) and the app will be struggling further!)

No problem at all! - You can import whatever you like! I think for GigBook as long as the files are PDF's it doesn't matter what's in them. Indeed I import both hand written charts and notation, but even just random reminders about parts of songs. I like GigBook, because one you've imported all of your files in to one master list, you do exactly as you've described - arrange song lists in to folders. "binders" that you can browse but also set up set lists for all manner of different types of gigs. I think both apps will work with a BlueTooth pager turner too, so once all the songs are in order, a tap of a button or the screen will advance you on to the next song. (Or in GigBook it's possible to jump out of the song view quickly should you need to jump to another song in the set quickly.) I hope I've described that clearly as I'm just waiting for my next student to arrive!

Not a million miles from how I work out long dep sets too! For those rare live tracks where you can't hear the bass, I most definitely use my recording software (Logic Pro X or Reaper) which is also very useful for slowing down audio, but to hear bass lines, I often add plug ins to manipulate the sound. Of course you can also slow down YouTube tracks using the speed control, but the results are usually much cleaner in pro DAW software. Looping and marking the audio file you've mentioned already. There's also an added bonus. For those with video footage to peruse, Reaper and other DAWS can import video files and thus looping and slowing those down is also available. Forscore is great, I mainly use DeepDish GigBook which is essentially the same kinda thing. My main weapon of choice is Guitar Pro 7. Arobas' own online music book has hundreds of professionally notated songs (all instruments not just bass) and Guitar Pro can play the notation in the same way as Sibelius et al. - But, there's the added bonus of going to the likes of the Ultimate Guitar website where there are countless (sometimes badly) notated songs from many genres. Some files are truly horrid where members have just imported MIDI tracks - but there are a few gems in there that have been converted or scored by someone who actually knows what they are doing. I've crammed a few songs rather quickly for gigs using GP and Ultimate Guitar! All of the above isn't what I do mostly. I guess after many, many years of depping and teaching, my ear is pretty good. You start to hear chord progressions before they happen and you kinda know where the bass line is going to go for the majority of pop / rock hits. - Oh and if you do forget the line, you can rely on key information to fill in suitable notes... and most people in the audience don't notice slight in discrepancies anyway! Case in point, there are times I have mashed up my own function band songs with a bass line taken from a completely different song - and only my band mates noticed

Genuinely, genuinely pleased to read this. Thank you so much Yeah, that's a nice bass!

Did we mention It's My Life by Talk Talk yet? I always though that No Doubt's version was pretty faithful.

Awwww that'd be pretty nice! This one is 16.5mm spacing and we were careful not to get that ‘thing’ with some headless basses where the end of the neck is a little further away than a standard ‘headed’ bass. So I think you’ll probably find the 34” scale here pretty spot on.

It's beautiful. Oh and it's a six string headless.. which is, of course right up my street!

I'm not sure of the model, but I did try a model that had 4 or less drivers in it at CIEC. There's no doubt they had a lovely top end and clarity, but I leant towards the low end support of a different brand. I eventually went for an 8 driver ear piece to cover my needs.

Oooh! Very interesting indeed! Good on ya! Looks great!

I could have typed the very same reply! I do use a little multi-band compression for the overall mix and some band-pass drive in the upper mids only that may well help to even out switching between playing styles, but I control the overall level with the pick or fingers. I like a solid plectrum rather than anything too bendy as well. I would say that my slap, tap, fingers and pick playing are all reasonably practiced out to be the same volume. My bass of choice probably helps with that by design.

Did we post Bill Clements already? - As far as I understand it, before losing his right hand, Bill Clements was a session player. Much like Rick Allen from Def Leppard, the loss of a limb was gonna hold him back. Massive respect.

This has GOT to be the very seeds of inspiration for bassist's very own Les Claypool and Primus.

I know this has been mentioned a few times, but for those who don't already know. The guy holding the 24 stringer is Chris Cardonne (Hope I spelt the name right). He is the mastermind behind Circle-K (now KALIUM) Strings. This bass was built for NAMM and helps to showcase the massive range of strings that Kalium offer. Low strings that have a gauge in excess of .200 and everything all the way up to skinny offerings for our treble brethren. I do like the "cause we can" attitude. It's fun. The "Jaco only needed" brigade wet themselves every time. Oh and as to whether a person likes it or not, well, thats cool with me.. we're all different

I photograph all of my kit and serial numbers. Sometimes I’m all out on Austin Powers, when really only one picture would be fine.. Annnnnnnnnnnd, I’m spent...

Just had it too on IOS Safari.

I think many people get confused about “the modes”. It really depends on what’s going on underneath. If I were playing the chords of G and C and playing A-A it’d still have a strong ‘Major’ Ionian quality. The chords have power over the scale sound. Switch the chords to Am and D7, the ‘mood’ of the music will change to that of a Dorian sound. or to put it another way, there’s a huge difference between playing the Dorian mode vs starting on the 2nd step of Ionian.

Yeah, the price on his red Strat is a bit on the high side. I'll give him a few hundred quid for it, ya know, save him one less guitar to get rid of.. * I love that particular Strat. It is in my list of favourite guitars evaaaaaar.

I always find these sort of comments a little confusing. Like everyone thinks that they are only out to line their own pockets or something. Even a small glimpse in to the inner-workings of such a large brand and you'd understand that going out and performing Queen material as Queen, the cash goes in to everyone's pockets 'in the business'. Even John Deacon benefits, and he stepped out of the limelight years ago. The Boh Rhap film will have happened because of the work they've put in. The charities and foundations they support receive huge donations from the Queen estate - and not to mention supporting Freddie Mercury's legacy too. Oh and they might just enjoy still going out to play in front of audiences too! I think without them continuing, many people will not have been introduced to what an amazing performer Freddie Mercury was. Whether you love or hate their music, that can't be denied and deserves to be shared.

Immediately what came to mind as I read the OP

Expect a review video coming up in Guitar Interactive