SteveK

This is our audio reqirements sheet, it may give you an idea of what's required. [url="http://www.manfredmann.co.uk/wp-content/uploads/2012/04/MMEB-Audio-2015.pdf"]Audio Spec[/url]

Of course, it's all down to taste... Some have got it! Some haven't! I personally would never do pink, but... IMV pink with white plate looks ghastly! If you really want to get away with this shade of pink then, regardless of neck, the tortoiseshell plate is an ABSOLUTE MUST!

[quote name='Drax' timestamp='1429552326' post='2752539'] Hasn't live bass forever been a mixed bag? [/quote] Yep!

[quote name='Truckstop' timestamp='1429538251' post='2752377'] But all of those issues can be solved by simply turning the bass frequencies right down. If it's a poor room, kill the bass. On everything. [/quote] If it were as simple as that this thread wouldn't exist and punters would have no complaints. Something worth mentioning: Some FOH engineers deliberately go for a mix with no definition, thinking "Hi-Fi is for the home, but for the live experience we need power and energy". EDIT: BTW As the OP mentioned Parliament Funkadelic and the O2 Academy, I am assuming that we're talking professional FOH engineers, and not the guy down the local Firkin whose only qualification is that he has the required number of fingers to twiddle a knob.

There are an infinite number of reasons for poor sound in a venue, here's just a few: Rooms not designed for music, different shapes, materials used in the building, furnishings etc all affecting sound. Walk around a venue during a performance and hear how drastically the sound changes from one position to another. PAs not up to the job. Poorly positioned and set up PAs. Sound engineers not experienced/qualified to deal with dodgy acoustics. Musicians too loud on stage. Bands that try to reproduce their [b]recorded[/b] arrangements on stage - maybe an idea to rethink that fast 16s bass synth part for the enormoshed tour! Bands that just aren't very good. [quote]maybe it's the influence of dance music[/quote] Live sound production has always been hit and miss, not just since the advent of electronic dance music.

[quote name='blue' timestamp='1428700173' post='2743989'] Agreed, however, I think having competent musicians is key. Blue [/quote]If it's for public comsuption... Absolutely! But, If it's in the confines of a bedroom or rehearsal room, it doesn't really matter. Jamming will go someway to making you a "competent musician"... and beyond!

[quote name='peteb' timestamp='1428682085' post='2743786'] everybody joining in using the power of telepathy [/quote]It's nothing to do with telepathy, it's all about responding to what is going on around you. It's quite simple - if you're serious about your instrument and want to be the best player/musician that you can be, then get yourself involved in the occasional jam session... THERE IS NO DOWN SIDE!

I don't get the negative posts re: jamming. You'll learn more from 3 hours jamming with your mates than 3 hours on your own widdling about in your bedroom. So what if it becomes a 10 minute blues/funk workout in E, It will be 10 minutes well spent. Providing you're all at a similar level and approach it with an open mind I don't see the problem. Jams can be as simple or as complicated as you like, or your ability allows.

[quote name='spacey' timestamp='1428493570' post='2741740'] People that use them as Tools of a trade and expect them to be robust enough for the job. Why I do not play warwicks anymore, they are just not robust enough, lovely instruments to play, but a machine head snapping mid gig is not my idea of a reliable instrument. That and the wood around the pots it's very soft and thin. [/quote] That's interesting! I've used Warwicks regularly for 30 years. They've been subjected to all kinds of "on the road" stress and treatment. The only wear & tear "fail" that I recall is a strap-lock giving up mid gig. However, I do have a rather interesting old Streamer that has a neck that looks like it's morphing in to a lizard... but that's down to a big footed stage tech!

[quote name='chris_b' timestamp='1428401441' post='2740852'] It is a boring debate because it is never a debate. A 4 stringer usually kicks off with "Why bother with 5 strings". A thread of negativity from 4 stringers usually follows with 5 stringers explaining why 5 works for them. A 4 stringer then usually accuses the 5 stringers of getting touchy and it all fizzles out only to start up and follow the same script a few months later. It's the same line of thought as the tedious "Boutique basses are a waste of money", and "My £200 bass sounds as good as any £10000 bass", threads. [/quote] Maybe we need to debate what constitutes a debate The 4 versus 5 string is a perfectly legitimate debate/discussion that will understandably come around every year or two, with contributions from newer members that bring their own views and experiences. As I said in an earlier post, I'd never given fanned fret basses any thought, but thanks to this thread and Iain's mention of the extra (37") scale length of the B string, it's got me thinking that maybe I should check one out.

I would probably slacken the strings to avoid uneven tension. Although, in reality, I don't suppose there would be any harm in leaving the remaining strings for a week or so.

Yes, very sad! FWIW I replaced Matt in MM's Earth Band in 1985. By all accounts he was a lovely guy. RIP Matt

[quote name='Iain' timestamp='1428245323' post='2739518'] Yeah, the G is standard 34" and the B 37". Took very little getting used to and the extra length is mostly at the bridge end - hard to 'get' until you play one. I find the 1st fret easier to reach than I did on my Warwick which sat further left on the strap. [/quote]Thanks Iain, food for thought!

[quote name='Iain' timestamp='1428230992' post='2739294'] The 37" scale length on my 5-string certainly addresses that to a large extent. [/quote] 37"? That would help - do you have exceptionally long arms? What bass is that? Is it one of those fanned fret jobbies? Never really gave fanned fret basses much thought, but the extra length B string would go some way to alleviate the "ugliness" that I associate with standard scale B's.

Another exception here!

Wouldn't describe it as "bad technique", but John Entwistle's tapping style certainly wasn't orthodox. It went a long way to creating that unmistakeable JE style/sound.

I'm afraid I'm of the view that anything played on a B string just sounds ugly. A few years ago, in a sad attempt to move in to the 80s, I had a custom Stingray 5 built for me. I spent many months getting comfortable with it - It looked gorgeous - it played beautifully - it sounded wonderful... until you involved the B string... anything played on the B just sounded ugly! My (non technical) guess is that to get a B string to ring like a piano, the same as the higher strings, would require a ridiculously unplayable scale length. I wouldn't deny though that 5ers have their place, particularly in the session world: If it's a choice of doing a Stevie Wonder session in Eb (JTUK mentioned Eb being SW's deault key) with a 5 string, or sticking to my 4 string guns and staying at home, then perhaps I could tolerate that B string ugliness

[quote name='Evil Undead' timestamp='1427966076' post='2736319'] I was wondering because mine takes about a full turn from mid point to get the neck straight, (every time I change strings I return it to mid way and set relief) but I've read that some folks have given theirs several full turns and been ok. I always worry about running out of truss rod even though it's only happened once (not on this bass) [/quote] Under normal circumstances (if the bass is playing well), or changing string gauge, there should be no reason to touch the truss rod when changing strings. The words "[i]Given theirs several turns and been ok[/i]" and "[i]Running out of truss rod[/i]" are worrying, My advice would be to leave the truss rod alone and take the bass along to a reputable tech, to either setup... or repair. Once you've got your bass in good playing order then do some research, there are probably many Youtube vids explaining the whys/hows/do's and don'ts of truss rod adjustment. It's very easy, providing you know what you're doing.

[quote name='planer' timestamp='1427211923' post='2727263'] 'going forward' Where else can we go? [/quote] [quote name='icastle' timestamp='1427213840' post='2727317'] You mean apart from backwards or sideways? [/quote] Now you've done it... Up & Down have seriously got the 'ump!

[quote name='Skol303' timestamp='1427109472' post='2725766'] [font=Helvetica][size=3][size=4]I’m not a DIY enthusiast… I’m a bungling amateur. [/size][/size][/font] [/quote] My advice would be to leave well alone! You may end up with holes in the plasterboard big enough to get your fists in. Use a pro, or at least get a mate who has a little more DIY experience. It shouldn't take a professional much more than 1/2 hour - and that includes a tea break! If you really want to do it yourself, remember...USE THE CORRECT TOOLS FOR THE JOB.

Seems pretty clear, from VA's website: [b] [i] "Musical instruments[/i][/b] [i]If you’re planning on bringing a musical instrument with you, bear in mind it may not fit within your hand baggage allowance. If it exceeds the hand baggage allowance measurements, you’ll need to check it in (and pay an [url="http://www.virgin-atlantic.com/gb/en/travel-information/baggage/additional-baggage.html"]additional baggage fee[/url], if it takes you over your check in allowance). However, rather than checking it in on the spot we’ll still ask you to carry it through to the airport security checkpoint (subject to relevant Airport Security approval). As instruments are especially fragile, this ensures safer carriage. It will be taken at the departure gate for loading into the hold of the aircraft, so please make sure it’s suitably protected when you pack it. Alternatively, you can carry a maximum of two instruments onboard if you book a seat for each one. Each instrument cannot exceed 75kg (165 lb) and its centre of mass should be no more than 30cm (12 inches) above the top of the seat cushion. For any questions about bringing a large musical instrument, please contact us in advance of your flight."[/i] I haven't imported anything for a number of years, but in the late 80s I was gifted a couple of basses from Warwick, and even though they were gifts I still had to pay something like £400 in import tax. Of course things may have changed since, but my guess is that you will have to pay something.

This thread, ladies and gentlemen (or are we not allowed to state gender here), is a perfect example of why I rarely post on BC. The BC registration form should include a simple checkbox: [i][b]I confirm that I am grown-up[/b][/i] FWIW She nailed it - made it look and sound effortless - I enjoyed it - Thanks Bubinga 5 for posting.

[quote name='UglyDog' timestamp='1425912594' post='2712096'] [b]James Blunt[/b]: Noel G: “[i]I ‘d never draw on my own life for songwriting inspiration as it would result in songs more boring than James Blunt's.[/i]" James Blunt: [b]"[i]For once, I agree with him.[/i]"[/b] [/quote] Class riposte from Blunt!

[quote name='warwickhunt' timestamp='1425841908' post='2711370'] Contracts are a two way thing and using them means that you need to be aware that if you (a band) decide (or have to due to unforeseen circumstances) bail on a gig or booking, would the other party be entitled to remuneration/compensation? Just playing 'Devil's Advocate'! [/quote] A friend of mine and promoter of big shows in the 70s/80s suffered serious financial loss when Prince "bailed" on him. The fee was never recovered.

I've seen this reported in a few mags over the past couple of weeks, and I'm obviously missing something Isn't it basically a MIDI controller with a couple of gimmicks thrown in? Along the lines of [url="http://yourockguitar.com/"]http://yourockguitar.com/[/url] , but made to look less like a guitar.