Drax

GAS leak again. After some excellent luthier work from the very lovely Sims in Ashford, I'm interested in thier Enfield basses (the Avenger specificially), where they've created from scratch the 'all things to all men' pick up config, with accompanying traffic lights.. Anyone out there have any experience with Enfield ?

OP how can you own all those classic old Jazzes and not already be on first name terms with your local luthier

http://basschat.co.uk/topic/26654-recommended-luthiers/

Yeah great point. It's a bit like cooking - if the raw ingredients are high enough quality - ie those thick, lush live strings - you can get away with a much simpler recipe. I've found since I've started writing with a partner, whose production knowledge is way above mine, I've been able to get away with fewer 'ingredients' in the mix, as each one works better / harder. On a related note, there's a fantastic book on Arranging by Richard Niles which I'm currently devouring [url="http://richardniles.com/the-invisible-artist/"]http://richardniles....visible-artist/[/url]

[quote name='discreet' timestamp='1416492805' post='2610807'] I agree, that's GAS for you... Though in my experience the joy of a new purchase is relatively short-lived. [/quote] I used to do alot of work with Porsche. The buying cycle for your 'next' Porsche, starts 6-8 weeks after taking delivery of your new one. How many times have I felt 'this is all the bass I'll ever need'.. !

[quote name='discreet' timestamp='1416491802' post='2610785'] It would be interesting indeed. Given that most basses are essentially built to the same basic design and largely sound quite similar to each other within a relatively limited range of parameters. How much of it is about status, reputation, branding, loyalty and... good old snake oil?? [/quote] Moving from £1k instrument to £10k one, won't make you a better bassist, and won't really sound better, it's all about GAS. Nothing wrong with spending this much if it makes you happy of course. Given the music that has come out of bassists over the past 50yrs , most of which have not have had an instrument costing this much, it all feels a bit unnecessary.

Whatever you decide, make sure you play the actual bass you're going to buy. Big variance in build quality and general 'feel' , esp at the cheaper end of the range.

[quote name='toneknob' timestamp='1415967436' post='2605655'] He's great. You know about [url="http://gongband.info/event/londonhighbur-uk/"]http://gongband.info...ndonhighbur-uk/[/url] right? [/quote] Thank you thank you - didn't know about that !

The Hurting is a great album. Easy to slate them for being overproduced but underneath it all is great songwriting and hooks

[quote name='ambient' timestamp='1415317556' post='2599271'] It varied a bit, 50p or £1 per track (some tracks are over 7 minutes long, one over 10 minutes, only one is less than 4 minutes), for the album the lowest was £3, the highest £10, most paid £5. [/quote] Really interesting thread. I had no idea of the sort of numbers and conversions from Bandcamp. That 80% are prepared to pay, and pay decent amounts. Obviously a reflection of your great music but when you can access most of the last 50 yrs for £5 a month, its great that people are digging deep to support new music.

http://basschat.co.uk/topic/206038-fender-jazz-bass-american-vs-mim-vs-mij-video/page__p__2062036__hl__fender%20mim%20vs%20mia__fromsearch__1#entry2062036

[quote name='karlfer' timestamp='1415193149' post='2597653'] Sorry Dan, I came across as an arrogant tosspot. Which I am I'm just using any tactic to avoid finishing my year end accounts, to stave off the tears a little longer [/quote] Not at all mate! Yep I'm 'working from home' today. Got some good practice in at least

Cool - ok thanks, understood Didn't fully appreciate the difference in cost. I knew there was some logic behind it, given the support from bassists who seem passionate about nice instruments.

Ok. So when you buy a '72 Jazz or whatever, you're buying it for the build / the sound / the heritage etc - the chipped paint and oxidised tuners, is just a by-product. Isn't this like putting a Jaguar e-type bodykit on a Ford Escort, or a fake Rolex? Yes it looks the part, but it just isn't?

I'm new to Limelight. Am I right in saying they're new basses, made to look old? I really really don't get this. Possibly I've quite understood what they are..

Poorly made IMO. Just had a custom shop tweed right angle cable fail, something internal disconnected. Monster Cables are generally great and bullet proof.

Excellent. Was asking about just this the other day and drew a blank, and couldn't find any online resource. Thanks for posting

[quote name='Zenitram' timestamp='1415034712' post='2595915'] Yeah, audio is far more elastic than it used to be, and in many ways is [i]more[/i] malleable than midi. Stretch it, compact it, chop it, tune it, you can do all sorts these days. I'm sure Pro Tools is packed with fun things to do with audio; in fact, isn't audio its strong point? Or is it more about "tracking" and "producing" than composing. [/quote] That's it. ProTools is a great bedrock for the full blown studio, but other DAWs are leagues ahead on intuitive / creative audio manipulation.

I've had similar as a seller, and yes it does often go in the buyers favour. From my experience it was less about scammers, and more just that there are some real pain in the a*se people out there..

Most of the basslines I listened to as a kid were played on a Fairlight, they were £25k then and I only had a paperround. I'd still love one now.

Great thread. Wish I'd had this when I started out. Can I also add the benefits - for some people at least - of 'in person' training to help demystify the computer element. Coming at it completely green, the DAW seemed daunting, and YouTube tutorials a mixed bag. I found it hugely beneficial attending a crash course (a weekend at PointBlank in London, but these exist across the country). Having someone there to ask questions of in the very early stages, and working through live examples, got me up to pace quickly and confidently, and most importantly, helped me understand what questions I needed to ask.

Thank you thank you - damn this forums got some helpful people on it! I've got my studio engineer contact booked in for next week, loading up a stack of these. I'm working through all your Soundclouds too - really interesting - will post a link to mine shortly.

[quote name='discreet' timestamp='1414844992' post='2593869'] Just as an aside, it may well be that your favourite bass tone (particularly if it's recorded) will also have lot to do with the sound of the desk and other ancilliary gear in the studio, the whims of the producer and engineer on the day and a hundred other parameters... just sayin'. [/quote] +1. So true. Also, no matter how objective I try and be about 'tone' - every record where I love the bass tone, I also love the music. Be interested to hear who loves a bass tone on a track they hate?

It's a documentary, a labour of love funded by Robert Trujillo >> http://www.usatoday.com/story/life/music/2014/09/18/metallica-robert-trujillo-jaco-pastorius-documentary/15678819/

[quote name='timhiggins' timestamp='1414828781' post='2593659'] only if you dont say it like the Yanks 'Jarko' ...whats that all about ? [/quote] yeah that new film will be full of it