Lenny B

I've been using a Genz Benz Shuttle 3.10 Combo for about 18 months, and it's great, suits me really well, really like it. I've also got the GB Shuttle 2x10 cab, but have only done 1 gig in this time where I've needed it - I'm mostly playing with percussionists rather than kit drummers. So my wonder is whether for the very occasional function gig or funk jam (where I dig out the octave, fuzz and filter) with a drummer, would the combo + a 1x10 cab do, or is there a real advantage to using a 2x10 cab? Has anyone compared or can advise? It would be a very dinky mini-stack... Cheers

Just bought a pedal off Shep - easy as pie (and as nice as well) to deal with, double thumbs up from me.

Just bought a couple of pedals from Paul - they arrived the next day, well wrapped, trade with confidence, top guy!

Rick Danko often played fretless + pick - will try and dig out a vid later

[quote name='51m0n' post='1328407' date='Aug 5 2011, 10:40 AM']Sledgehammer Fretless, pick, massive compression = one of the most awesome bass sounds of all time[/quote] Plus Octave - don't (never!) forget the octave....

[quote name='Dave Vader' post='1328371' date='Aug 5 2011, 10:17 AM']I have slapped my fretless a few times, I liked it, so did she....[/quote] And who am I to argue with Les or Pino? It just doesn't suit my band. But I'm loving pick+fretless+octave - going to be doing some recording in the autumn, will stick a clip up when I've got one...

I sometimes use a pick with my fretless, for no other reason than it gives me the sound I want for that song. I also sometimes use my fingers on the fretless - I don't slap though, because that doesn't give me the sound I want. No rules. (except that)

ok - 2 of them, both 'in the studio' performances (in that it's all one take played live (or so I believe)) rather than 'in concert' Led Zep - In My Time of Dying Jimi Hendrix Experience - Voodoo Child (long version) Both 12+ mins, both just amazing performances

Both - good enough for Entwhistle and JPJ, so good enough for me. The song / sound dictates whether or not I use a pick - I must have gone 10 years without one, but recently had a listening resurgence to Bobby Vega and Dave Ellefson (http://www.youtube.com/watch?v=ZbuQgbabZf8&feature=related) so actually practicing my picking technique again.

Love it

[quote name='skej21' post='1300664' date='Jul 12 2011, 09:30 AM']However, if you do a couple of extra little things, then it should be a perfectly good way to ensure your material is not plagiarised.[/quote] All that does is prove that by that date, you had that piece of music - the tricky bit is to prove someone else heard it, and then copied it.

[quote name='flyfisher' post='1300632' date='Jul 12 2011, 08:49 AM']But if things do go legal it's usually too late anyway as it'll be a long, messy and expensive business [/quote] Agreed (and I say this as a lawyer) Other thoughts; - in order to have a copyright claim, you have to prove actual copying - not that someone's created something a bit like yours, not coincidence, and not similar to anything else out there. - How to prove copying? Having your music online or emailed / posted it to someone is not enough to prove that someone copied. And if you want to start getting legal, you can be a long way down the litigation route (expensive!) before your opponent has to disclose any evidence - What's the damages? Unless the 'copied' song is a worldwide Beyonce / Rhianna smash, is the cost of litigation worth the costs? UK damages are based on what you would have lost had your work not been infringed. More importantly, does your opponent have money if you win? - and also, good luck if you're planning to get any industry people to listen to any unsolicited material - they can be very picky about that... Hope that helps. Len

Don't waste your money on any of those. By the time you get to opening the envelope in court or getting a lawyer to produce it, you'll be thousands of pounds into legal costs. The important bit is that copyright only exists when recorded - that means fixed in any permanent form, not necessarily a musical recording (so a transcription or scribble would be valid) - any way you can evidence that will be fine, but don't waste money on any of these copyright protection services. Will expand more on this later

[quote name='paul_5' post='1295282' date='Jul 6 2011, 10:07 PM']my latest incarnation. Nice. [attachment=84141:06072011107.jpg][/quote] That's really nice indeed - not too dissimilar from what I'm aiming for And I've never come across that Freeze pedal, but that looks great - perfect for my band... Oh dear, here we go again...

Fender Precision Lyte - great basses, pop up fairly regularly on here and Ebay.

Bought a bass and multiple strings from Derek - top bloke to deal with, all as described, really well packaged and protected - buy with confidence!

The main issue will be who writes the songs and whether they will keep all the publishing income (e.g. Lennon/McCartney), or whether that's shared between all band members regardless of particular contribution (e.g. Chilli Peppers, Radiohead). Both are common, but be clear what you're all agreeing to (the Spandau Ballet court case was on this) Songwriters get an additional income stream - as a very rough example, if one person wrote 100% of all songs on an album, he'll get 8% of the wholesale price of the album for that. The whole band because of their playing on the album may get 15-20% royalty. For ease of example let's say 20% royalty. Split that 5 ways, all members get 5%, except for the songwriter who gets 5% + 8% = 13&%. Some more info here - [url="http://basschat.co.uk/index.php?showtopic=2508"]http://basschat.co.uk/index.php?showtopic=2508[/url]