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[quote name='RhysP' timestamp='1323186046' post='1460274'] WD40 is what Joe Zon Recommends for use on his fingerboards too. [/quote] Bloody weird, that.

[quote name='EBS_freak' timestamp='1323184421' post='1460252'] composite? as in graphite - I've got a Status and the instructions say clean it with WD40 I seem to recall?! [/quote] Bloody odd, that.

[quote name='molan' timestamp='1323180209' post='1460173'] I have to admit that I a Pod XT Live and really struggled to get a sound that didn't come across as 'over-processed' but I only ever used the standard patches and didn't try to re-programme anything. Conversely I've tried a few Sansamp products and seem to be able to dial in a really nice tone (or variations of tones with the pedals that allow you to store 2-3 different settings) with very little effort or tweaking at all [b]Just 'horses for courses' I guess![/b] [/quote] Just 'sheer laziness' I guess!

[quote name='jakesbass' timestamp='1323167890' post='1459928'] Hmmm I was just about to put my basspod up for sale and now Bob and Nige have re-ignited my interest in it... programming you say.... Nigel you might be due a visit [/quote] Any time Jake.

[quote name='thumperbob 2002' timestamp='1323166482' post='1459902'] What setting do you use pal?- I use mine going into my effects return on my Lm2 and take a DI out to the pa. Are you using in ears? [/quote] I use the Studio XLR outs, usually mono into a single channel on the desk (no separate DI box is necessary). I go stereo if possible, into two channels panned hard left and right. I rely on stage monitoring, can't be arsed with IEM

Thumperbob speaks the truth. You already have what you need. Of course the SansAmp is simpler to use, it does one thing, the POD does 1,000s of things. Spend some time crafting your patches and you have sounds for all seasons. I have a POD X3 LIVE, no amp or cab. I go straight to the PA. I simply can't imagine using anything else, except the next generation of POD.

Use a good non-silicone guitar polish, Gibson polish is fine, but there are many to choose from. If your board is ebanol, the same polish is fine.

Gold sparkle, cream plate, cream pup covers. /thread

[quote name='4 Strings' timestamp='1323088879' post='1459037'] Thanks, with the add-on that the sound is now more flattering and also we have become so used to this that we now no longer actually like the original sound. Tighten-Up is a great track but I've spent my life trying to avoid that bass sound. I've been thinking again about that since (through this great forum) I've been introduced to flats strings and been adjusting my sound for a Motown band. [b]With that understood(!) the next part of my argument relates again to the flattery and just as its easier to sound good with an overdriven lead guitar sound its also easier to sound good with the 'processed' - for want of a better word - bass sound.[/b] (Again the area of mastering is similar) [/quote] Crikey! I really could not disagree more with that! A crap musician / player will sound crap whatever their sound is.

[quote name='4 Strings' timestamp='1323087528' post='1459017'] Bit unnecessary. [/quote] Eh?

£300 ish depending on condition / age.

[quote name='Monckyman' timestamp='1323080161' post='1458872'] It was all quite interesting until that final bong. If you can explain what "If we have nowhere to go, may we be where we are" Means, I`d be truly grateful. Woof. [/quote] [b]XI[/b] Where we are going is how we get there. If where we are going is how we get there, we are where we are going. If we are where we are going, we have nowhere to go. [b]If we have nowhere to go, may we be where we are.[/b] [b]XII[/b] Music is a benevolent presence constantly and readily available to all. May we trust the inexpressible benevolence of the creative impulse. I think it can be interpreted in a couple of ways. It could mean that one has achieved self actualisation, or it could be a Zen type expression about achieving Sartori. Perhaps it was meant to have a question mark at the end. Who knows? Fripp wrote it

[quote name='lonestar' timestamp='1323019923' post='1458359'] on re-reading this you know your dead right ! The man needs more fibre in his diet. or as Zappa said "Talking about music is like fishing about architecture". [/quote] It's [i]'writing about music is like dancing about architecture'[/i]. No-one knows who said it first. It does not relate to the Fripp piece in the OP, Fripp is not talking about music recordings, nor is he a music critic which is who the your quote is amied at primarily, at least by Zappa. You think Fripp's musings are hard to understand or to apply to your music? Interesting.

[quote name='razze06' timestamp='1322844484' post='1456625'] Personally, I like (or not like) the sound that the bass+amp+cabs produce. To me they're all part of the same instrument, given that each of them doesn't make any real usable sound on its own. To me, the sound of an unplugged electric bass guitar is irrelevant, as it is an incomplete instrument. You can find me huddled at the bottom of my bunker, wearing a tin hat... [/quote] +1

I know what you are saying, however, I completely disagree Everyone has sounds in their heads, and they are mostly now influenced by recordings not live performances. The last thing in the world I want to hear is a perfectly reproduced sound of a bass through a transparent amp and cab. I want the sound to fit well with the bands I play with and please my ears. I use a POD to do that. Some may like the complete opposite. Soon we will be able to create any sound we like. Why be restricted to the inherent sound of a slab of wood, strings and transducers?

My build thread shows some basic problems and solutions. I used Tonetech pre-cat nitro. I got a very good finish for the most part. Yours will be easier since it's already sealed I assume. [url="http://basschat.co.uk/topic/94028-chris-squire-electra-evolution/page__view__findpost__p__959444"]http://basschat.co.uk/topic/94028-chris-squire-electra-evolution/page__view__findpost__p__959444[/url]

[quote name='SteveK' timestamp='1322756371' post='1455503'] Couldn't read all the above, but whatever he says is all right by me. IMV the music world of today is sadly devoid of characters/musicians of Robert Fripp's ilk... where the f*** are the Robert Fripps of today? [/quote] Alain Caron?

I like Robert Fripp's thoughts [b] The Road To Graceland by Robert Fripp[/b] [b] I[/b] Music is a process of uniting the world of qualities and the world of existences, of blending the world of silence and the world of sound. In this sense, music is a way of transformation. What we do is inseparable from how and why we do what we do. So, the transformation of sound is inseparable from a transformation of self. For example, we attract silence by being silent. In our culture, this generally requires practice. Practice is a way of transforming the quality of our functioning, that is, a transformation of what we do. We move from making unnecessary efforts, the exertions of force, to making necessary efforts: the direction of effortlessness. In this the prime maxim is: honor necessity, honor sufficiency. [b] II[/b] When we consider our functioning as a musician, that is, what we do in order to be a musician, we find we are considering more than just the operation of our hands. The musician has three instruments: the hands, the head and the heart, and each has its own discipline. So, the musician has three disciplines: the disciplines of the hands, the head and the heart. Ultimately, these are one discipline: discipline. Discipline is the capacity to make a commitment in time. If the musician is able to make a commitment in time, to guarantee that they will honor this commitment regardless of convenience, comfort, situation and inclination of the moment, they are on the way to becoming effectual. An effectual musician is a trained, responsive and reliable instrument at the service of music. [b] III[/b] So, practice addresses: 1. The nature of our functioning; that is, of our hands, head and heart. 2. The co-ordination of our functioning; that is our hands with head, our hands with heart, our heart with head, and in a perfect world, all three together in a rare, unlikely, but possible harmony. 3. The quality of our functioning. [b] IV[/b] It is absurd to believe that practising our instrument is separate from the rest of our life. If we change our practice, we change our lives. Practice is not just what we do with our hands, nor just how we do what we do, nor why we do what we do. Practice is how we are. [b] V[/b] A practice of any value will be three things: 1. A way of developing a relationship with the instrument; 2. A way of developing a relationship with music; 3. A way of developing a relationship with ourselves. So, the techniques of our musical craft are in three fields: of playing the instrument, of music and of being a person. I cannot play guitar without having a relationship with myself, or with music. I cannot, as a guitarist, play music without having a relationship with myself and my guitar. And, by applying myself to the guitar and to music, I discover myself within the application. [b] VI[/b] A technique simulates what it represents, and prepares a space for the technique to become what it represents. For example, the manner in which I live my life is my way of practising to be alive. There is no distance between how I live my life and how I practice being alive. [b] VII[/b] Once a quality is within our experience, we recognise its return and may allow its action to take place upon us. But how and why it is present, or comes to visit, is rather harder to describe. If this quality is present with us, description becomes easier: we describe the world in which we live. If we live in the way of craft, the craft lives in us; as we describe this way, the craft reveals itself through us. Any true way will be able to describe itself through its craftspeople. [b] VIII[/b] The quality we bring to one small part of our life is the quality we bring to all the small parts of our life. All the small parts of our life is our life. If we are able to make one small act of quality, it wiil spread throughout the larger act of living. This is in the nature of a quality - a quality is ungovernable by size and by the rules of quantity: a quality is ungovernable my number. So, one small act of quality is as big as one big act of quality. An act of quality carries intention, commitment and presence, and is never accidental. [b] IX[/b] Once we have an experience of making an effort of this kind, we may apply this quality of effort in the other areas of our life. The rule is: better to be present with a bad note than absent from a good note. When our note is true, we are surprised to find that it sounds very much like silence, only a little louder. [b] X[/b] If music is quality organised in sound, the musician has three approaches towards it: through sound, through organisation, or through quality. The apprentice will approach the sound, the craftsperson will approach the organisation of sound, and the master musician approaches music through its quality. That is, the master musician works from silence, organises the silence, and places sound between the silence. [b] XI[/b] Where we are going is how we get there. If where we are going is how we get there, we are where we are going. If we are where we are going, we have nowhere to go. If we have nowhere to go, may we be where we are. [b] XII[/b] Music is a benevolent presence constantly and readily available to all. May we trust the inexpressible benevolence of the creative impulse.

I always like what Robert Fripp said about musicians talking about having a relationship with their instrument, when in reality, many don't even have a relationship with their own hands. I think exercises which increase finger independence, speed and strength are very useful, but why not challenge the musical mind at the same time. I think I agree with Joe Hubbard on this.

[quote name='risingson' timestamp='1322700364' post='1454801'] I totally disagree. I'm a regular gigging and recording musician, and am well aware of what I need to use to warm up before I play. Often it's a case in the winter months of donning a pair of gloves for the long journey in the cold van so when we arrive and have loaded in to our respective venue, I've got warm hands. You said it yourself: the muscle groups in your hands and wrists need warming up, and whilst there is a hell of a lot to be said for taking 10 minutes out before you start playing by blasting through your scales and arpeggios, sometimes if this hasn't been possible for whatever reason I've found those grippy things to be useful in warming up before I play. It has nothing to do with how hard or soft you play, I have my bass set up so that I can put in the most minimal amount of effort to get out the biggest sound, that's how I like it. But those grip masters categorically do warm up your major muscle groups in your hands. I'm not saying use these contraptions in isolation. It's best to have a good spread of exercises as go to options, but they certainly help and if the average player wishes to use them in this way then I don't see the problem, providing you're using them in the right way. I would add that is totally mad to dismiss exercises that seem in any way 'non-musical' on the bass. There is more than one way to skin a cat. I think beginners should be taught the importance of exercising in musical ways so as to develop a good sense of how their instrument should be played as well as learning their notes on their fingerboard, but I know for certain that I often find myself playing very 'un-musical' things as a means of warming up. in conjunction with very musical warm-ups. [/quote] Cold muscles need stretching, then gentle warm up, not strenuous exercise.

I enjoyed the issue. Lots of silly grammatical errors and typos though. It seemed 'busier' if you know what I mean, I like lots of boxouts with specific information in interviews, and I thought the instrument reviews were pretty decent. And Ben, you write well.

[quote name='RhysP' timestamp='1322314094' post='1449231'] I suppose the easiest solution is if you find it boring then don't come on here. Forum participation is not mandatory as far as I am aware. [/quote] Neither is it mandatory to live in the UK if you don't like its government.

[quote name='frostis' timestamp='1322237991' post='1448482'] This is played in the low register. Should we consider it ugly?: [media]http://www.youtube.com/watch?v=gR9lCa23kzo&feature=related[/media] [/quote] This is a composition, not a solo, and it is played with a bow on an acoustic instrument with a beautiful timbre. Show me a bass players who solos who can match Bach in terms of composition. If you like cello, check out Steven Isserlis playing Britten's No3 cello suite. It's extraordinary. EDIT: Here you go Bach No3, no Britten on YT .. [media]http://www.youtube.com/watch?v=O3bFeVoArnQ[/media]

[quote name='frostis' timestamp='1322237991' post='1448482'] Just listen to any solo by [b]Alain Caron[/b]. That is real poetry in my opinion. Most of us will surely be able to give the name of a bunch of bass players capable of doing most extraordinary solos. [/quote] Who?

Works incredibly quickly on my BB. Excellent!