SteveO

they're no worse than a regular stand with a neck holder - i.e. it'll hold it fine, but your bass will fall over if someone knocks it. The only way to store your bass so that it won't get knocked over is in its case.

[url="http://www.amazon.co.uk/BASS-BIBLE-History-Styles-Techniques/dp/3927190675/ref=sr_1_1?ie=UTF8&qid=1378540430&sr=8-1&keywords=bass+bible"]westwoods bass bible[/url] is also worth a look. it covers just about every style out there.

[quote name='ubassman' timestamp='1371149417' post='2110610'] The Tesco screecher was an obvious !! Picked out the full bodied Strad from the very nice sounding 18th C German which was just a bit brighter . These two were in a different league to the Tesco offering! [/quote] agree here. I'm a big fan of cheap instruments, and the recordings demonstrate how a good player can make anything sound good, but, the recording of the tesco violin stood out like a sore thumb. I did get the other 2 right as well, but perhaps it is easier for people that hear a lot of orchestral instruments regularly. I do find it hard to hear the difference between most electric basses though

Found bassworld via a google search for bass+forum. Lurked there on and off for a couple of years then it disappeared (i still don't know why). Tried Talkbass for a while, but never really got on with it, then googled bass+forum+uk and up pops basschat. When I realised it was the old guys under a new moniker It made my day. Still don't say much, but I love it here.

I like it, hole and all. looks like the rail is notched, so finding the positions for a song in a giging situation wouldn't be so tough. The spectrum of tones achieved by shifting the pups in that vid is pretty impressive, although I guess that Guy's fingers were helping a lot to make it sound good. Will have to check out the other 'rail basses' mentioned in this thread. I remember BRX having one in his weird and wonderful bass thread that was a little less conventional looking (and more aesthetically pleasing because of it). I feel a GAS attack coming on, but I guess that warwicks price tag for this will alleviate the symptoms.

[quote name='bluejay' timestamp='1369331009' post='2087926'] Welcome, Magne. We have a small Norwegian contingent on the forum, I believe. I'm sure they'll turn up and say hi. ... [/quote] Ooh, that's my cue... [quote name='BassTractor' timestamp='1369334431' post='2088002'] ...Dunno about many Norse folks here, but I know of several foreigners living in Norway - like myself... [/quote] Another immigrant to your fine country here. Welcome to BC

Don't people use sibelius/ finale etc to prepare scores these days? Shifting the part up an octave is all of 30 seconds work. Mention it to the md, it's in his interest to give you something you can read easily.

+1 to Gonzo's explination. When writing I find it useful to sing the part, and write in rests where breaths naturally occur, even for percussion parts. Its a great tool when you're trying to impart emotion into a piece. for example the pauses when shouting the part or singing it softly are quite different, and the same notes in the same order can take on entirely different characters.

I would like to think I'm no badge whore, but the truth is deep down I think I am. For years and years I hated my Squier and wished the bills would stop arriving so I could save up for a Fender. When it came to selling it and doing the deal the guy I was selling to - Oldgit, a past member on here sadly no longer with us - pointed out it was a JV and what that meant. It suddenly sounded great to my ears and has been my main bass ever since. The funny thing is that the gearstalkers turn their noses up at it all the time because of the Squier badge. Since those frugal days every instrument I have bought (guitars and basses) has been a cheapie, even though I could go buy a new USA fender today if I wanted. I play a Ibanez gsr180 when I want that jazz sound (cost about £150 new) and have no desire to upgrade to the real thing. Did the JV experience cure my badge whoredom? Am I still a whore and just deluding myself since I get a warm glow if smugness when people say "Oh, you're playing a Squier"? To be honest I don't really care either way.

Everything I've ever got through thomann had a euro plug, but being based in Germany it's to be expected. I'd have thought that most of the stuff we buy is made for "Europe" and comes from the manufacturer with a euro plug, but would expect DV to have swapped out the lead to a UK plug though. I was sold a 4 channel mixer with a euro blister plug once, which was a bit of a pisser A travel adapter sorted it.

[quote name='The Bass Doc' timestamp='1363386897' post='2012312'] Well you could certainly compensate by your technique but my answer would be to let the neck in slightly i.e. lengthen the neck pocket so that you achieve nearer 34.25 spacing nut to bridge. This is taken as the approximate measurement to the D and A string as the G is more like 34" and the E sring closer to 34.5 when the 'slope' is taken into account. You may need a tech to do this but it shouldn't cost much. The holes in the neck may need plugging and re-drilling to suit. [/quote] It seems easier to cover and re-mark the dots. On a grands worth of bass I'd take the trouble to get it right, but not on a cheapie. Is there any practical reason for working on the body? I would have thought that the only real difference would be the relative position of the pup on the open string, and at the measurements we are talking that is only about 1.5mm. Edit: forgot to agree with Mr Foxen on both counts. Could be a 'between the frets' dot system especially if its a cheap neck, its cheaper just to not fit the frets than to retool the factory to make a fretless with the dots in the right place.

The Amp`s power rating is the theoretical maximum that it will produce, in your case 500W driving 4 ohms and 350 driving an 8 ohm cab. At the other end of the cable is the Cab. Its power rating is the theoretical amount of watts that it can handle before it gets damaged. In theory, Cab power greater than amp power is good. Amp power greater than cab power is risky. In practice any mix is OK, but common sense is required. You can generaly hear a cab distorting before it gets damaged. I regularly run my 1000W amp through a 250W cab when we`re playing small gigs, but I wouldn`t turn it up to 10.

saw a bottle of mötorhead..........WINE! in the off licence last week. not the first alcoholic beverage thing I'd associate with the lemmeister, but there you go.

[quote name='chris_b' timestamp='1357646987' post='1925822'] Why is the answer to go out and buy something? Use sandpaper to rough up the pick. [/quote] This. Last time I went buying picks I bought about 50 ready sanded ones (Dunlop I think) for only 1p more than the plain versions. Was once a sufferer of slipped picks with my sweaty hands, but not had a slip in yonks.

Fully expected to blow you all away with my awesomeness, but apparently I'm only a Bass Clef Beginner despite reading music for 30+ years. My score would probably improve if i could remember where the letters are on the keyboard I blame old age.

[quote name='Cyrene' timestamp='1356703753' post='1912624'] We must be just dead lucky up here in Boro 'cos every time I've been in to my local shop, Steve James, the staff are welcoming, the stock great, and the service impeccable. On the one occasion I've encountered arsey staff, in Red Dog Edinburgh, I vowed not to go back in. [/quote] Steve James' is one of the best shops for customer service IMO, the second being Uncle Tony's in 'Boro, near the bus station (although I hear he moved) both run by musicians who care, almost to the point of only regarding the money side of going into their shops as a necessary inconvenience. Can you spot Steve [url="http://en.wikipedia.org/wiki/File:DogsIntheDynamiteJetSaloon.JPG"]here[/url]?

I find I can pretty accurately identify intervals, although I never really set out to learn them. For me I guess I used method 1 in that after years and years of playing various instruments I can hear an interval and imagine playing it, and then "seeing" in my head the shape and then working out what interval it is. (Actually I find it easiest do this by imagining playing the notes on trumpet probably because you pretty much need to be able to 'hear' the note that you are aiming at before you play it, and its not so hard to do this process in reverse.) To approach it in this way means that I'm not restricted to intervals, but can hear can hear quite complex chords and work out quickly what is going on, even over several instruments. I think method 2 (which I have never tried btw ) would be useful in the short term at being able to identify intervals, useful for a music examination situation for example, but possibly less useful in a performance setting as there appears to be an extra step in the working out process. i.e "sounds like Happy Birthday - major 2nd - Was playing a C - so new note is D" rather than "Was C, now D so major 2nd" Saying that, method 2 looks like it is easier to learn, and less prone to guess work, and if starting out from scratch I would do both. 1 for performance and 2 for transcribing.

ah, that makes sense, but isn't it AC, which would mean that every 50th of a second the live and neutral wires are reversed anyway? at least from the point of view of the electrons?

[quote name='JapanAxe' timestamp='1355530457' post='1899777'] ...and live/neutral reversed... [/quote] ah, here's something that i've wondered about for a while. is it really dangerous to have live/neutral reversed? I ask because over here the plugs are symetrical so it's easy to reverse the wires by simply unplugging and inserting the plug the other way up.

incremental bump

[quote name='thisnameistaken' timestamp='1355152645' post='1894675'] Dangerous territory. You could lose one and never find out. [/quote]but on the other hand those that have to sneak new purchases into the house without being caught by partners will have an easier time.

My memory is terrible. I usually have a few reminders on the setlist - things like whether to come in at the start or if there is a guitar intro, what the first note is, any riffs that the song depends on, any cues that I play that others are listening for, etc. The thing that I've found the best help is the ability to 'busk' the song. if it all goes blank (at least once per gig) then i'm watching the rhythm guitarist's hands to get the chords and listening intently to everyone for any clues about breaks, choruses etc. Usually I can get back on track after 2 or 3 bars when the grey matter starts working again, and most of the time only our drummer notices.

another F

[quote name='silddx' timestamp='1349950411' post='1832540'] I can never understand why anyone would take a constituent of the whole and judge it in isolation. It's like enjoying a wonderful plate of food then eating half a teaspoon of salt and being surprised it tastes horrible. [/quote] Great analogy, point well made. in fact this really deserves to be in the BC famous quotes thread...