xilddx

Oh dear I have had a listen to about half of it, I really couldn't stomach any more than that. Of course, this is my opinion, but the lyrics are pointless, his voice has no conviction, the sound of the record is weak, half empty. I was expecting something rich, lush, challenging. It all sounds so dated. The playing is good, but that's not why I listen to music. It's the sort of thing Muse do SO much better. Sorry Ped. [b]EDIT:[/b] I'll put it in the SE Bass Bash raffle [b]EDIT 2:[/b] Also, something about the first song was nagging at me, I have just realised a part of it sounds like just like a number on the first A Perfect Circle album. Now I think about it, it all sounds like a elementary attempt at being A Perfect Circle album. If you haven't heard APC, check them out, they are truly brilliant.

Is getting paid lots of cash to play two and a half songs a night two hours after you were supposed to a good or a bad thing?

Two of my bands the lines are already written by the songwriters, but live and in the studio I put some eyebrow on them and they definitely, Like others have said, have some silddx-essence. The other band I write most of the lines and luckily they love what I do. I have an equally lovely time with either scenario.

[quote name='Doctor J' post='599446' date='Sep 15 2009, 05:33 PM']You owe it to your audience (if you have one) to only play the best. If they've paid in to see you rock out do you really want them to think you're a band of tight-fisted wierdos, that they've given you money and you've spent it on a new conservatory or a nice cardigan instead of a fancy bass? Hell no! That's not rock 'n' roll. That's not even jazz. They want to see you rock, rock hard and would you cheat them out of that by playing some cheapo piece of crap? I should hope not. The audience comes first and that's why I buy expensive basses. Shame on you cheapo lovers, won't you consider somebody other than yourselves for a change?[/quote] That really is a very odd, completely misguided approach. The only things that matter are doing justice to the songs and performing to the audience the vision of your songwriter and band at it's best. If that can be done with a pole and a dustbin lid, then that's cool with me. My basses are reasonably expensive because the basses I need to do my work properly and satisfy my own sound, reliablility and performance requirements happen to be that price. I don't mind buying one second hand either. I've played Squiers on stage and the modern Chinese one was pretty poor, the Japanese Silver series was good. My drummer noticed when I started playing a Hohner Pro Jack that the sound was much better, and the Warwicks even more so. I've settled on Warwick as my instrument of choice and I have one fretted and one fretless. I don't need a back up because they are super reliable and I use high quality strings which don't seem to break, even under heavy gig pressure. I wouldn't play a Wesley because I wouldn't trust it to stand up to punishment or deliver the tone I need. The sound of the OP's might be good for his situation, but will the hardware and electronics and tone stand up to hard, prolonged use and BIG, transparent PAs? Maybe his ears and hands can't tell the difference? Who knows?

[quote name='ped' post='596570' date='Sep 12 2009, 02:28 PM']I have a special advance copy of this album and can confirm it is one of the best albums I have heard... just fantastic. Here is a lil preview: [/quote] I just listened to 30 seconds of it. I'm buying! Cheers Ped

I see, thought you meant you were in a studio. Glad you got it sorted. Have fun and good luck, break a leg.

[quote name='thepurpleblob' post='596936' date='Sep 12 2009, 11:31 PM']I've never been in a studio that didn't have loads of DIs kicking around. Mind you, I've not been in that many studios [/quote] I think he means an active DI with EQ though. Studios like a direct signal and reamping these days it seems. They even do it with guitarists, especially in metal bands.

[quote name='Basszilla' post='596703' date='Sep 12 2009, 05:48 PM']Guys Bit of a cheeky post but if you dont ask.... Got a recording date next week and haven't owned or used a DI in aeons.... I won't be able to crank my matamp up too much as it's a home recording jobbie. Was wondering if anyone would lend me a nice DI for the week if I paid for special delivery back and forth (and obviously cover the cost of the unit if it failed on me) I haven't really got time to sort one out any other way. I would be happy to pay for the loan or you can have my bluebeard fuzz or wah for the week if anyone would like to try any of them.. Would be happy to try the hartke, aguilar or sansamp or anything nice and effective. thanks Tim[/quote] If it's a half decent studio what they'll do is DI you anyway, probably via a good compressor. The engineer will reamp it later when the mixes are being done. I'd lend you my Sans Amp Para Driver but I'm probably going to need it for a low key gig. Sorry mate.

[quote name='martthebass' post='588542' date='Sep 3 2009, 12:53 PM']Thanks for that info B. I thought about one of the Synapses but in the end went for OTPJ's old Streamline. These are fairly lightweight but still feel substantial (7lbs on a small body) but balance well. Does anybody know if these are wooden cored? Like the old Steinys these feel 'hard to break'.[/quote] I nearly ordered a Streamline. But Rob told me it was Precision width nut (which I can't get on with) and couldn't do a Jazz width. I still really fancy one though.

The Hohner Pro Jack Bass Custom I had was a superb bass for the money.

[quote name='The Bass Doc' post='589686' date='Sep 4 2009, 02:20 PM']Some advice I received a while ago suggested setting the strings (top two in particular) slightly flat as in bridge saddles further back and aiming to play on the line. The thickness of one's finger then allows you to sound either spot-on or if you're sver so slighly flat you can 'roll' into it and sound like you meant it. Striking a string sharp gives you 'nowhere to go' (except the exit door when the auditioner shouts 'Next'!)[/quote] Now that is bloody good advice! Thank you Doc.

I don't play lined. On an unlined I intonate as close as possible to the side dots at the 24th. You can't see where you fingertips are relative to the dots anyway when you're playing. Playing fretless is all about feeling and hearing so just set it up properly and stay that way so your brain gets used to the finger spacings and motion required. All in all, you're probably best off taking playing and intonating tips from classical players like string bassists and cellists.

I suppose I'm really lucky, I don't have that problem. Everyone knows what they are supposed to be doing and we [i]rehearse[/i] and tweak, rather than [i]practice[/i]. I would get seriously pissed off if I was in the OP's position. It's a total waste of time. I'd probably just leave them to it.

[quote name='Gust0o' post='588580' date='Sep 3 2009, 01:19 PM']One final question for me - did you spray the neck, or just the body? I think I'm pretty comfortable with the body, but the neck seems problematic in parts.[/quote] Go to the reranch website, the're's loads of great advice and tip and tricks on there. [url="http://www.reranch.com/"]http://www.reranch.com/[/url]

[quote name='Gust0o' post='588580' date='Sep 3 2009, 01:19 PM']One final question for me - did you spray the neck, or just the body? I think I'm pretty comfortable with the body, but the neck seems problematic in parts.[/quote] It's a bolt on neck so I didn't spray that, I have no problem with seeing wood on necks, just bodies

[quote name='Gust0o' post='588444' date='Sep 3 2009, 11:32 AM']Thanks for the swift response. I'm after a seriously glossy look with this one, so I suspect I'll be putting a significant amount of coats on, so it's good to get your take. Out7hined has been very helpful also, passing some advice on after his stunning Encore Coaster. I'm impressed that all of this has been done with paint from a hardware store. I might have to go and investigate further. I had been looking at some of the items from Manchester Guitar Tech, but was considering something a little more... different![/quote] If you want seriously high polish, you'll probably need to wet sand from 800 progressing down to 2000 grade W&D. Then use T-Cut or some sort of polishing compound. I used Rustins, on a damp ball of soft cloth. I really haven't done a perfect job by any means, but I reckon I could have done with more time and patience.

[quote name='RichB' post='588430' date='Sep 3 2009, 11:26 AM']That's really nice. Really go for the grain coming through. Must admit in its original state it did look a bit orange, although that may have just been the photo. It looks great know, you should be proud of your work there.[/quote] Cheers Rich, that honey violin stain really is that orange! Horrible!

[quote name='Gust0o' post='588417' date='Sep 3 2009, 11:15 AM']Sil, did you use a clear lacquer at all? Or is it simply paint then polish? I'm very curious, being mid-process in restoring an item. Some people appear to not use clear lacquer, whilst I was moments away from ordering a load. Would be interested to hear how it worked without. Looks very good from the shots![/quote] Hello mate, and thanks. I gave it about eight coats of clear acrylic aerosol before wet sanding it with 600, then 1000 grade W&D. It's sounds a lot but it's not and it's really easy to sand through to the colour, even the wood!

[quote name='Toasted' post='588390' date='Sep 3 2009, 10:50 AM']Great job.[/quote] Thanks T

It may be out a few cents but as it's fretless it's harder to tell. It's near as dammit. That's Warwick QC for you, their instruments are assembled and set up beautifully at the factory.

Something else I meant to say was to massively big up Warwick. The new bridge I ordered arrived set up for intonation. I installed it, strung it up and it was perfectly intonated! Now that's attention to detail! That's one of the reasons I dig Warwick so much.

[quote name='jezzaboy' post='588032' date='Sep 2 2009, 09:48 PM']Youve made a really good job of the paintwork and all for £20! I can see the sandpaper heading for my old squire bodied P bass as I`ve got one too many sunburst finished basses. Your cat looks as if it`s got "mind control eyes" in that photo. Jez[/quote] Thank you Jezza, appreciated:) Three cans of paint and some wet and dry! Of course I spent 114 Euro on the hardware but I think I've sold the chrome hardware to make that up a bit. Ahh, LouLou's lightsabre eyes

[quote name='Happy Jack' post='587981' date='Sep 2 2009, 09:11 PM']Couldn't you get white strings and white hardware for the black bass? That white one is seriously cool. Can you still see the grain through the finish? It's not clear from the photo.[/quote] Cheers Jack. You can see the grain but I only have intimate ambient lighting at home. It makes us and our guests look younger The pics are not brilliant really. I probably should have left more grain showing through or made it solid white.

My old friends

[quote name='Clarky' post='587937' date='Sep 2 2009, 08:42 PM']Fantastic job there - and I like the way you colour-matched it to the cat [/quote] She was the first to play today it so I named the bass LouLou, after her