SteveO

[quote name='Bay Splayer' post='519083' date='Jun 20 2009, 09:59 AM']i do not use the middle finger of my fretting hand [b][color="#000000"]at all[/color][/b], anyone else here the same? my brother (a guitar teacher) reckons i should i reckon.....as i am a fairly competent player.....then....if it aint broke, dont fix it [/quote] Eh? what? how???? are you just playing in the box all the time? I only use one finger of each hand to type and that doesn't cause any major problems...

[quote name='Tinman' post='504655' date='Jun 3 2009, 01:33 PM']Flyboys??????? I'm groundcrew, not one of the trained chimps we put in the cockpits [/quote] Ooops. sorry, didn't realise you were a bit touchy about such distinctions. Should I refer to you as 'groundboy' then Pete?

[quote name='Tinman' post='504461' date='Jun 3 2009, 09:39 AM']If we'd landed where we were supposed to, there was a good chance that I'd have had to declare it......I was lucky.[/quote] Good break there then. I always thought that you flyboys got around all that beurocracy. I suppose things have changed since my grandads time though OT... here's a thought, if say someone was to take a £10 piece of ebay firewood and come back with something rather special, would the customs people cotton on?

[quote name='Tinman' post='503988' date='Jun 2 2009, 05:04 PM']So I was in the States and stumbled across this in Guitar Center. I just had to bring it home [/quote] That's one way of avoiding those pesky import duties Was gonna suggest you start Tinmail (for a commission of course) but if there's a risk of it being kicked out mid-atlantic then this is maybe not such a good idea.

Life's sh*t sometimes yorick, but there's always a gig if you look around. Go to it! All this reminiscing reminds me of the last time I had to tell someone they were sacked... Was at the house of a friend of a friend, I mentioned I play bass (as you do) and was asked to dep for a gig. It was all MOR stuff, nothing too taxing so I agreed. It went well but after the gig I was approached by the ex-bassist bitching about me pinching his place. Apparently no one bothered to tell him that he's sacked and was a little pissed off when he went to the pub and saw his band with a new bassist. It probably doesn't come as a supprise to hear that I politely turned down the offer of a permanent spot.

Blimey, only just noticed this thread. Less than one month from first post to arriving in NZ. That's pretty good going. probably beats parcelfarce's record. Anyway, I would have wished you bon voyage but as you're already there then I won't . Glad to read that you made it over relatively painlessly, and good luck with the jobhunting. Steve

[quote name='Alun' post='496868' date='May 24 2009, 10:53 PM']My Cort Curbow ( factory fitted Bartolini Mk 1 humbucker and Fishman preamp) has developed a strange random fault. Every now and then it will develop a loud "sizzling" buzz which, if I turn the volume pot down and back up, disappears. Sometimes there is a small "pop" as I turn it down. I can't find any obvious loose connections so any thoughts? Dry solder? Dodgy pot? Cheers Alun[/quote] Sounds like a dodgy pot, in which case [url="http://www.maplin.co.uk/Module.aspx?ModuleNo=25340"]this[/url] works wonders.

[quote name='Finbar' post='496831' date='May 24 2009, 09:59 PM']I don't find it even controls my dynamic range, so much as suppresses it. At the point you can really notice its on anyway. Otherwise all it does is just make me sound worse. Think I will be selling. Far more fun toys to buy.[/quote] That's the point though, It's job is to supress your dynamic range. Don't forget that the compressor is a sound engineer's tool to stop transients from ruining a recording (or in this case from ruining a performance) I think that a perfect compressor shouldn't be 'visible' at all. I'm not trying to persuade you to keep it in the chain by the way. From your posts I don't think you need it, and if you feel that the noise is compromising your sound then definately bin it... or spend more on a transparent one

I think that compressors add a certain degree of safety when playing live. I'm not a big fan of using compression as an effect, although I think it's essential to get that phat reggae sound, but I definately wouldn't leave home without it. I believe the trick is to set the threshold so that for normal playing no compression is being applied so you still have the full required headroom for your dynamics, but it'll still kick in for those moments when you catch a string way too hard on a pop, or dig in too hard with the pick and prevent that embarasing moment when for one note you drown out the rest of the band. It may happen only once in a set, but i'd rather have it than not. A bit like an airbag I suppose. Of course for the inexperienced It's a useful tool to get consistency of volume, at least it was for me when I was starting out. I think most bassists will use less and less compression as their ability improves to the point where they eventually find it unneccessary and bin it.

[quote name='AM1' post='494748' date='May 21 2009, 11:54 PM']To be perfectly honest, I was being diplomatic in my reply to you. Putting on a new set of strings more frequently that once every fifteen years isn't GAS... I think in your case, it WOULD be a life changing experience if you put new strings on! You don't realise how crap they really sound until you fit a new set. Nothing worse than the tone from dead strings, it's so dull.[/quote] Maybe I should apologise, after all I am slightly drunk and I may have been winding you up a little bit. TBH I have played new strings a few times (all loaned basses except the one time when I changed my own) and I agree there is a marked difference in tone. Nice as it was I personaly don't feel it's worth changing every few weeks / months to keep it. I suppose I'm happy with the range of tones I have at my disposal (even with my old strings). Your prefered range of tones requires buying new strings every so often. Tough break there on the old bank balance but if you think it's worth it then who am I to pass judgement. I'll butt-out and let you get back to talking about tramps and whatnot.

[quote name='0175westwood29' post='489805' date='May 16 2009, 02:48 PM']just picked this up from mansons exeter got a wicked deal! can't wait for band practice on thurs, then gig on the 30th! ampeg 610hlf andy[/quote] I always thought the 810 looks overkill. That's nice. Menacing but in a civilised way. however I'd keep it away from the cat post. you don't want the little blighter getting any ideas...

[quote name='51m0n' post='494722' date='May 21 2009, 11:25 PM']Errr epic fail matey. New strings arent great because of trebleness, but because they have so much more harmonic content, old strings + treble is not the same at all![/quote] lol. makes sense, maybe i'm missing out, but to be fair it was a sarcastic comment and really shouldn't be taken too seriously One day I may try new strings and it may be a life changing experience, but I wouldn't hold your breath coz it'll probably only be when they come fitted to a spanking new bass, and sometimes I think i'm the only gasless bassist on here

I changed my strings once... I became paranoid and bought a 2 spare sets, one for the 4 and one for the 5. Thought i'd change them and keep the old ones in case of breakages. Swapped out the 5 string, but never bothered with the 4. I still have the unopened packet in the gigbag... that was back in '95. Come to think of it, the 4 still has it's original strings, they must be 15 years old now. Not sure what a set costs now, but this maybe a usefull tip to save on replacements... I have an amp with a trebble control on it. A quick clockwise tweak makes the sound lovely and zingy when needed edit: Come to think of it, I usually end up soaked in beer at the end of a gig... I wonder if ale has string rejuvanating properties...

[quote name='velvetkevorkian' post='489868' date='May 16 2009, 04:32 PM']They're an eight of a whole note (semibreve), in every time signature.[/quote] I'm slowly getting drunk so I apologise for the pedantry and facetious nature of the following observation... A whole note is a Breve. A semibreve is half that (semi-breve, geddit?). it just so happens to be 4 beats long which is a full bar in 4/4. That makes an 'eighth note' a sixteenth of a whole note. And they say that the 'merkin way is easier to understand? I refer the learned member to my [url="http://basschat.co.uk/index.php?s=&showtopic=45963&view=findpost&p=457392"]earlier remark[/url]

[quote name='Paul_C' post='489672' date='May 16 2009, 12:41 PM']the best bit is that if you look through his feedback, it shows where the bass and all its parts came from [/quote] *applause* nice

[quote name='ped' post='486377' date='May 12 2009, 10:12 PM']My fingers are soft and woman like but then I have my action so low that I put more strain on them by stroking Nellie. (she's my staffie btw, not a nickname for my 3rd leg!)[/quote] It's one of those things that everyone seems to go through. I'd advise against using paint/vinegar/superglue/piss though, like conkers you're better off without. just persevere, it'll come right eventually. [quote name='Machines' post='249622' date='Jul 28 2008, 03:36 PM']Yeah your fingers need to get used to the impact/abrasion, eventually they'll toughen up a bit, but until then just take it easy and stop when if hurts, let it heal and go for it again.[/quote] The man know's what he's on about. One thing i did when learning to slap was to use my 2nd finger for the pops. when it got all painful and blistery I swapped to using my 3rd finger, swapping back when neccessary (and occasionaly having to use the 1st while the other 2 fingers were recovering). I dunno if this helped ambi-digit-ousness (if that's even a word?) or not, but now I pop with all of them.

of course it's easier to play faster with low action as it's less physicaly demanding on the left hand, plus there can be intonation problems if your action is too high as the string stretches that little bit extra to touch the fretboard. I tend to have about 3 mm to remove that clackety clack. I spent ages training my hands to play softly with a low action a la Garry willis, but then I thought what's the point, and now set my basses up to suit me rather than the other way around. Sometimes i wish i wasn't so ham-fisted though

[quote name='Buzz' post='483258' date='May 8 2009, 08:56 PM']As it says on the tin, have you? I appear to have an intermittent fault with the input socket, I've not got a spare lead to hand and won't for another month or so, so I'm not sure if the cheapy "live wire professional" cable has slightly undersized jacks or not. But on the offchance it is the input socket, I've had the amp for nearly 5 years after all, has anyone else dived inside one and is there anything out of the ordinary that I need to pay attention to? Eg, hidden screws, awkward cables, an angry badger etc.... Cheers folks![/quote] Yep, stripped mine down to fix a loose solder joint a few years back (on the input socket coincidentaly enough). piece of the proverbial really, there was nothing unexpected at all. I had it done and back together in 10 mins.

[quote name='Golchen' post='467794' date='Apr 20 2009, 08:57 PM']...The 'secret' bassists golden rule: Thou shall not showboat, even if it's entertaining and people love it, for thou hath a job to do.[/quote] That is so crying out to be used as a sig. Off to the quotes thread with you.

[quote name='AM1' post='467701' date='Apr 20 2009, 07:11 PM']Bass is not my first instrument. I've served my time, in spades, spending years learning other people's music. Playing the bass has given me an insight I wish I had years ago, that musicianship (for me) is not about other people's music and definitely not about only being to play off dots. Everyone's musical background is different.[/quote] I find it stange that you (and bilbo, and quite a few others) state that you learnt to play other peoples music, yet can't see that that has helped you to become the musician that you are. OK, you've done the legwork and you don't need to do the same again on the bass, but you are using that same musicianship when writing lines on the bass that you learnt beforehand. If someone were to stand up and say that they were proficient in any instrument, yet never learnt to play anything that wasn't their own then I would be very impressed (although I would be thinking BS) [quote name='AM1' post='467701' date='Apr 20 2009, 07:11 PM']Ha. Ha ha ha ha. Think about this some more![/quote] Ah, I think you mean that just regurgitating music does not allow for creativity and that if you only ever learn other peoples music you will only be able to play other peoples music. Yes, I agree with that 100%, but that wasn't the point I was making. The point is that you can't learn to be a musician without being aware of other music, and the best way of learning about other music is to play it. [quote name='AM1' post='467701' date='Apr 20 2009, 07:11 PM']I don't disagree with learning other music, but it should not be the focus of learning... [snip]... My point was, playing exclusively only other people's music can be constraining.[/quote] Oh absolutely, again I agree with you there. I just think that being black and white about it all is wrong. The statement "Just playing other peoples music is bad" is certainly true, but that doesn't mean that we can draw the conclusion that "Not playing other peoples music is good"

I disagree. I think it is important to play these tunes. I think it is important to play as many of other people's tunes as possible in order to connect with your instrument, whatever that may be. Learning all the thoery is all well and good, and running up and down scales arpegios and all the other excersises to train muscle memory is just as important, but I also think it is important to learn how other composers have managed to create *that* feeling or emotion in that musical context. You can sit down with the score and study it, you can listen to as many influences as you care to, but I am convinced that the best way to learn this is to play it. I learnt music on the trumpet. I learnt all the big tunes that everyone plays (Haydn, Purcell, etc) as well as many others that hardly anyone plays. Over time (putting modesty aside) I became very proficient in playing the trumpet, to the point where I could 'feel' what was happening musicaly. Later I started to learn music theory in depth and quickly came to realise that I knew most of it, just not the names or the reasons why such and such notes worked in that particular context. Now that I write music semi-profesionaly I generate all my melodies by mentaly playing the trumpet. Then i'll work out what the notes are and get them down on paper. I just can't do this on the Bass or Piano (yet) and whilst I can do it the other way round (work out what notes I need to generate the required emotion) it takes much much longer and I loose that creative spark by thinking too much about it. The point is that I connected with the trumpet through playing vast amounts of music over the years and I firmly believe that If I hadn't done it that way then I wouldn't be as good as I am. Of course this is all IMO etc, but I'd be supprised if you could name One famous musician who learnt their instrument through only playing their own music, (and scales etc). Comming right back to the OP (bet you'd thought I'd forgotten hadn't you ) why not play the 'Top 10 tunes that everyone learns'? They're usually the best examples of the craft and they're all well known so you know what feelings you are trying to recreate before you start, which makes it easiser to learn. OK, so you're not going to play them for others (unless you [u]want[/u] to be like the stereotypical guitarist who can execute millions of fast widdling solo's but can't come up with one original riff), but it is far far from being a waste of time. Just don't keep playing the same stuff. Learn it, play it, move on, learn more, play more, move on.... otherwise you'll fall into the trap of not learning anything. Choose pieces that are going to push you. More importantly, don't JUST learn to play these. Jam with friends. Play jazz if you can stomach it (the ultimate jam) Write your own music. Do the millions of other things you need to do to learn your chosen instrument. There are some things you can drop (you don't need to learn how to slap if you don't want to) but learning other peoples music is not one of them.

[quote name='Bill Fitzmaurice' post='466408' date='Apr 18 2009, 11:09 PM']The high draw is from the power supply caps, which will draw a lot of current when charging at turn-on. Extremely high value caps can appear as virtual dead-shorts for a few milliseconds, and even moderate values will draw far more current when charging than the amp does at full output.[/quote] Thanks Bill, I wasn't aware of this, I thought it was just the fan motors that drew high current at startup. Does this mean that most things will need slow blow fuses? i.e. anything with a transformer in the box?

Beth Gibbons. :wub: Jimm Barr on bass I think, but not sure and can't be bothered to go to google -_-

[quote name='bassace' post='466366' date='Apr 18 2009, 09:30 PM']After a 'near miss' when our keyboard amp blew a fuse last week I've bought spares for all my amps. The ratings range from 6.3A for the Clarus down to 2.5A for the MB150. Some are fast blow and some slow blow. Anyone know the significance of this? And no sexual innuendo........please![/quote] They do 'what it says on the tin'. Basically some equipment sometimes needs to draw extra current, it's usually the fans when you turn on. A slow-blow fuse will allow momentary operation at a higher than normal current whereas a fast-blow fuse won't. So a fast-blow fuse of the correct rating may blow whenever you turn the amp on even though there may not be a problem. Putting a slow blow fuse in everything is not the answer though as this potentially may allow a momentary high current into the equipment which may fry whatever it is that the fuse is there to protect A general rule of thumb is Fans = slow blow, although this is by no means universal. Edit: If you're ever unsure I'd advise always using a fast blow fuse first. If it pops at turn-on then try a slow blow, but be cautious.

[quote name='warwickhunt' post='461616' date='Apr 13 2009, 10:54 PM']Off to York on Wednesday and Thursday, so can anyone recommend a pub that has live bands on in York centre? As an aside I'll be looking for somewhere to stop off for a pub lunch on the way into York (from the North) so anywhere that does decent grub?[/quote] We used to hang in Fibbers for live bands, although that was 15 years ago now (where does time fly? ), but there's a place on the A19 just after you pass skipton, about 100m before you hit the york bypass on the right - can't remember the name though something farm I think it's called. Nice place, nice food, decent prices. I always go there when I visit my dad, It's easier than cooking Edit: Doh, you're looking for somewhere to break up the journey aren't you. Try the Blacksmiths Arms in Swainby (A19 again just before you reach Northallerton) Damn fine food there too