Nicko

[quote name='seymourfluid' timestamp='1423598071' post='2686916'] You will learn 10 times faster and more on a stage than in your bedroom. :-) [/quote] +1

Just a few observations on this topic: 1.I think people compltely misunderstand Fender's heritage. Leo's origial concept was not high end. What he did was take a product that was very time consuming to build and invent a more efficient way to do it. The "premium" image basically came about because of the sound and playability. Those things remain in some way. 2.I have a mexican Telecaster (mid 90s) which was OK, but is now fantastic since I changed the pickus for some aftermarket jobs. I also have a US special PB which I am still in love with. The fact these have F logos matters not one jot to me. But when I tell non musicians that I play they always ask "is it a Fender". I say yes, but my main guitar is a Patrick Eggle and they're eyes glaze over. The brand has value outside of its market, not inside the market. 3. I totally agree that the range is far too complex, but the idea of different manufacturing plants for differrent price points is good business sense. Its gone too far and is now totally confusing. If you have a guitar built in the US it shoud be more expensive, because labour in the US is more expensive. It doesn't make it better though. 4. They do use different components depending on manufacturing location, and speaking from experience quality control in China is something that hasn't fully caught on. What we saw in the 90s with the Jap Squires was completely the opposite. Japan was where quality control mattered, and in the US they didin't give the proverbial s*** about what went out of the door. Ultimately I think you need to view Fender more like Volkwagen. They're good and reliable, but they aren't Bentley. Oh, sorry, dont VW own Bentley? Yes, and thats wherre the custom shop comes in.

You missed the boxes "Pubs near me are mainly shut down" "Moving to open mike nights"

[quote name='inthedoghouse' timestamp='1423582856' post='2686608'] Have you got a FB and/or YouTube page you could sent to prospective gigs so they know what to expect? [/quote] We have a FB page witha few tracks, but the recording quality's not great. Theres a link to some YT vids of open mic nights with a simillar quality issue. We could invest in a day to do a properly recorded demo in the studio if its not chucking time and money away for nowt.

Inspied by this thread I have been attempting Rhythm Stick. Seems like my right hand technique will need some work to get it to race pace, and my left hand needs work on that Gsharp pinkie stretch. I need a lie down

Thanks, helpful stuff and polite too!

I had to leave the last band I was in because I hated listening to the songs on the list let alone shelling out 50p for the privilage of putting them on my MP3 player.

Having never gigged in the UK I guess we'd be relying on friends and family. Might just about get to 30 between us. Would you play for free on the first one?

We're a covers band and have played a few open mic nights. We have enough material to fill 90 minutes. We're really only doing it for fun so we'd be looking for gigs in local pubs. I only ever played gigs in a house band before so I have no idea what the next step is. How do we get ouselves out there?

[quote name='Froggy' timestamp='1423562869' post='2686253'] Here's a question though, what makes it harder fingerstyle compared to plectrum? When I play if feel that my hands work independently but in concert with each other. What would be different if I was playing with a plectrum? [/quote] No. The hands still work independently - you have to play the notes in the same place either way. For me some things just work better with a pick. Some things are too hard for me speedwise to use fingers even if I want to (Somebody Told Me by the Killers for example) and I struggle with a plick on others (Valerie by the Zutons). I dont really aspire to only play with fingers or only play with a pick. Frankly I think its only bass players who get their cacks in a twist over this the audience and the rest of the band couldn't care less. Sorry I think I just outed myself as a heretic.

Blimey JTUK, thats a bit of an ask. I play a mixture of fingers and plectrum depending on the track but Dakota is strictly a pick song for me (must chuggers will be pick - fingers used for more feel). I've only been playing bass properly for about 5 years (plus 25 years on six strings) and still developing my right hand technique but I reckon Dakota on fingers comes under advanced. Lack of finger technique didn't stop me depping at a 2 hour gig on bass a week after picking up the bass.

I flew Qatar Air a few years back and they were more than pleased to take the bass in a soft case and put it in the business wardrobe while I flew economy. Their website actually says if the instrument is over 120cm long it must go in the hold or pay for an extra seat but when I rang them they said it was OK as hand baggageand there wasn't any problem at check in.. I also flew Delta from the States with my bass in a tweed hard case in the hold (Houston-Detroit-Heathrow). I must admit I was pretty nervy watching the baggge loaders and waiting for the carousel at Heathrow. The case suffered a few scrapes but the bass arrived safe and sound.

I think you can only realistically join a band that if your playing is at a level where you can play notes at the right time. If your timing is off you'll either not pass an audition or you'll get sacked pretty quick. Doesn't matter if the notes are a bit buzzy or if you cant do the complex stuff. See the thread on playing root notes as well.

If I could only ever have one sound it would be this [url="https://www.youtube.com/watch?v=SmJxtgmsqAE"]https://www.youtube.com/watch?v=SmJxtgmsqAE[/url]

[quote name='TimR' timestamp='1423215213' post='2682214'] What do you guys mean by intonation going out? I've never noticed this effect. . [/quote] As far as I can tell if you get a lot of crap building up on your strings it affects the vibration of the string. So even if your scale length is correct when you fret the string the effective length of the sting appears to be altered - resulting in unwanted/atonal effect. Other than that damage to the winding at the fret or bridge will result in poor intonation.

Well my ambitions were: - Get the band giiging (line up has been sorted for about 4 months now so its time!) - Learn to program that drum machine thats been in my cupboard for years - Record some original tracks in my bedroom Sadly the middle of February approaches and.....

Generally I can overcome the physical problems when playing covers as long as I devote enough time to it (as long as theres no slapping involved). What I find most difficult is internalising the bass line where it appears to be rhytmically random (like You Oughta Know - not too difficult technically but took me sooooooo long to get your hear around playing notes in the right place) or is difficult to hear properly in the mix (like old Stones numbers). Maybe our setlist is too easy on me. Neither Alanis nor the Stones features btw.

I love my US special and the necks more comfy - for me at least - than the vintage reps.

I'm not sure why I keep seeing the same discussion on 10, 12 or 15". Is it placebo or is it science? What really matters is whether you're happy with the sound. I appreciate you have limited access to decent music shops but please do yourself a favour and actually go and try the kit out before you decide. Personally I'd go with a decent head - Markbass III or Littlemark, TC BH250 or similar for the kind oif gigs you're talking about - try it out with a few different cabs and see what you think sounds best. Carrying an amp and 15" cab in two hands seems a whole lot easier than a 15" combo. Ultimately you can always add another cab if you think you need to move more air. I can't honestly say that I hear much difference between equivalent speakers, same manufacturer of different sizes but maybe thats cos our drummer has ruined my hearing.

all so true

I guess if you get home from rehearsals wondering whether you enjoyed it then its definitely time to walk. Sounds to me like the number of songs is an excuse as well. I cant see any rteason not to get out there and at least do some open band nights. Ultimatum time?

I think what I'm getting at is whether you change because you think you should, not because you've noticed a problem with tone/intonation or bits of festering dead flesh hanging off the old set.

My main bass is getting on for a year old, and I've never changed the strings. My other bass had a set up and strings replaced about the same time. On my six string guitars I only really bothered changing strings if I couldn't keep them in tune - normally the unwound ones would get dirty or corroded but on my basses the strings still sound OK. Do you regularly replace strings? Am I just a lazy slob?

[quote name='cheddatom' timestamp='1422957825' post='2678728'] I'd get an octave pedal and learn to transpose the parts up an octave, so when he goes to play a solo, you play an octave up but use the octaver to provide the bass Or you could go nuts with distortion, but you'll need something which gives a big boost in the upper mids without sucking all the low end. Tech 21 Bass XXL maybe? I guess the greenmile is a big muff, which are well regarded on bass, and will certainly thicken the sound, but in my opinion wouldn't do much to fill the gap that rhythm guitar is filling [/quote] Thanks guys.That octaver idea seems pretty cool - i'll check out the foruns for octaver recommendations over and above the OC2 of course. The Greenmile is actually modelled on an old Ibanez tubescreemer - I use it on very gentle settings and only when I want distortion, not for thickening. It does make the tone a bit crappy.

[quote name='Wooks79' timestamp='1422962762' post='2678820'] If you wanna thicken it up I would recommend the Abominable Electronics Hail Satan, it's a muff clone with mods that sounds amazing on bass, and if you want even thicker, pop an OC2 in there (That's what I do!) [/quote] That has to be the best named effect ever!