TrevorR

Here's a bit of fun... Some muso chums of mine get together every so often to do a "Guerrilla Session" of a favourite song. So far we've had Toto, Wings and this little ditty a much under-appreciated slice of pop-prog from 80s era Yes. Enjoy! Eagle eyed viewers may just spot Dave Marks who writes a technique column in Bassist magazine on bass and Captain America T-shirt! http://youtu.be/VbJBfkd-Tgs

[quote name='skej21' timestamp='1473773488' post='3132997'] However, I'm really struggling to see how any of those tonal factors can be picked up by a magnetic pickup?... ...I was under the impression that the strings interrupt the magnetic field of the pickup and create the signal? So surely the characteristics of an alder body would not interrupt the magnetic field at all, let alone in a different manner to a walnut body or a mahogany body? [/quote] [quote name='skej21' timestamp='1473787852' post='3133155'] I'm not saying all of the tone of the instrument is determined by the pickup. Clearly, woods, construction etc make a huge difference be instrument acoustically but surely that all becomes redundant once you use the pickups? [/quote] [quote name='skej21' timestamp='1473795866' post='3133234'] I think what I'm trying to ask is, if our ears perceive 'tone' as the waveforms that an instrument produces acoustically through the combination of wood, construction, resonance, sustain etc how does this translate through a magnetic pickup which uses interference of a magnetic field to reproduce a sound? [/quote] As many have said, the fundamental tone of the bass will be largely determined by the choice of strings and the pickup and its placement. However, the mode of vibration of the strings will be heavily affected by the materials in the body and neck of the bass. This is what creates the complexities in the waveform. Often it is tempting to think that the strings just transmit vibrations into the body of the bass and that's it. Hence questions about how much those vibrations affect the pickups. That's not what is at work. The strings transmit a significant degree of vibrational energy into the bass. These resonate through the body and neck which causes very complex modulation of the vibrations, emphasising frequencies, reducing others etc. This will vary with the physical properties of the wood, the nature of the neck joint, the shape of the bass etc etc etc... Again, if you want to get an idea of the amount of energy transferred into the bass lean the headstock or butt of the bass against your wardrobe door while playing and you will see that there is enough energy being transferred to the door to drive it like a speaker. How the body woods affect the tone is that every bit as much as the strings are transmitting vibrations into the body and neck, the neck and body are also driving their modulated vibrations back into the strings through the nut and bridge. That increases the complexity of the waveform in the string (otherwise, why wouldn't the string generate a relatively simple sine wave tone?). This vibrational interplay continues back and forth, creating the particular timbre of the bass which it then picked up from the modulated string movement by the pickup - whether a magnetic pickup or transducer. Now, you might argue that these resonances wouldn't be strong enough to hear. However, that underestimates the potential strength which resonances can create. Real world examples are manifold... A soprano breaking a wine glass with a resonant high note or a glass harp. Sympathetic vibrations between pendulums. Or most spectacularly, the Tahoma Narrows Bridge collapse. This famous video shows how when the vibration of the cables on a suspension bridge caused by a light wind blowing are transmitted into the body of the bridge, resonate within the bridge, and are then transferred back into the cables at a resonant frequency, increasing the amplitude of their vibration. This continues until a runaway resonant feedback makes the whole bridge twist and buck until the bridge literally rips itself apart. The force involved was merely a light breeze blowing across the suspension cables (as I recall the wind speed was only 15 or 20 mph -hardly a raging gale). But it has a really noticeable effect on the bridge. For me that shows that it's entirely possible that all the various elements in a bass will audibly contribute to the sound it makes to one degree or another. The neck and body are some of the most major components and their contribution can't simply be dismissed as minimal.

You could do a Dame Kiri and top it off with World in Union. Scotland... 500 miles... Natch, what else could it be? Ireland... Any Thin Lizzy esp Whiskey in the Jar Wales... Some Manics or as others have said, Tom Jones Italy... It's Now or Never but include one verse as "O solé meo" and another of "Just one Cornetto" France... Tricky... Je Ne Regrette Rien? She? Michelle? Les Miserables medley? Joe Le Taxi? Si Si, Je Suis Un Rock Star?... getting a bit desperate now...

Fully paid up member of the "just leave me cold" club here too. Most I'm completely ambivalent about except the Grabber and Ripper, which I have an irrational dislike of, to almost anaphylactic proportions. No idea why.

A year or so ago I spend an afternoon in Andertons trying all their acoustic basses. The cream of the crop £500ish price bracket was a Faith Titan Neptune bass which I took home with me that afternoon. Felt much nice to me than the Takamine which I did not like at all. Very simple but effective Shadow pickup and tone system. All round lovely bass. Plays great and sounds great both acoustically and plugged in. Came with the case...

And don't forget the Bass Bash in two weeks... Haven't been to Boaters in yonks but isn't it great!

Gary, so sorry to hear that. Surely a pleasant day out amongst like minded folks (albeit sans heavy gear) would be a perfect spirit raiser, release endorphins and promote more rapid healing...? Worth a try with Mrs Mac...

Nick, I should be able to provide some lucky-dip bundles of review/promo CDs for the raffle. Will have a look upstairs at what's kicking about. They won't be bass-focused but all of "3* out of 5 review" quality or more.

Got carried away and added 9 tracks. All absolutely favourite bass lines. Lynott, Lee, Laboriel, Thomas, Hope-Taylor and Sklar. It would have been a round 10 but Johnny Gus's line on Love Is The Drug had already been added by a person of discerning taste!

I stuck in Up To 1k. Played a pretty full Greenbelt festival big top and some heaving smaller tents when I was in a folk rock band back after uni. Since played to some big charity events at Ascot Racecourse, local festivals and the like as part of the Ents for the day. No idea how many were there at each, or how many were listening.

[quote name='Geek99' timestamp='1473021470' post='3126202'] I do have one tip - pay attention to your timing when using two. I found I drop into swing when starting with index, but I'm solid if I start with middle. [/quote] This is a great tip. My bass tutor (back when I was having lessons) always recommended leading with your middle finger rather than the index for just this reason. For some reason I don't understand it also helps make the tone more consistent across the two. Also, you can't beat simple exercises to a metronome... Straight 8ths and 16ths on one note. On a simple bass line or scale. Across the strings. All part of making it second nature and developing muscle memory. Then you can start looking at rhythms and breaking the rule where you throw in a few double or triple beats on the index finger between alternate picking. None of it is rocket science!

Better pic...

[quote name='sratas' timestamp='1472794409' post='3124258'] For a combo it's a really smart tool, and gives some sense to the amp carpeting. It does it's job brilliantly, it's stable, and this way the amp looses little to nothing because it still couples with floor. It's light, it's portable and foldable. It's pricey but you pay fir the idea and for it's use. With two cabs stacked I can imagine putting it between the two to raise and angoe the top one only...perfect for little one driver cabs [/quote] [quote name='discreet' timestamp='1473027924' post='3126294'] I've had several over the years. If you like gigging lite, like I do, it's a whole lot easier to haul than a tubular amp stand. Works well and will angle a cab so you can hear it on stage and not just have it firing at your ankles. You pay for the design, efficiency and portability. How much the raw materials cost is irrelevant, IMHO. It is a Markbass product after all... [/quote] I'd agree. I've used mine with my Traveler cabs and it works a treat. Simple and effective if, as others have said, a bit overpriced for what it is. Used it with the 2x10 in both short/fat and tall/thin configurations. I've got the amp case which is Velcro'd so that solves the stability problem on the leaning cab.

The design looks very nice. Though I'd have been tempted to go for a marginally wider line spacing or a lighter font for the body text. Just to make the look a little less dense and easier on the eye. Gibsons aren't a bass that particularly interests me but if the retail was £15-20 I'd also be interested. It would certainly go on my Christmas list. How are you planning to publish it? Get a short run published or go for a POD service? The latter may be more practical for this type of project. I've often wondered if I should do a similar book on the Wal bass, especially given the level of geekery I display about the brand.

[quote name='icastle' timestamp='1472844572' post='3124790'] Nope. This is basschat, not..... basschat [/quote] And I just discovered today that basswood isn't pronounced basswood, it's pronounced basswood! D'oh!

Well, if the Wal Tuners thread is anything to go by you should buy some Schallers. If they break in 20 years time the MD of the company will pop over and fix them for you!

http://youtu.be/lpuS7_NPv6U

They should make it from glow in the dark plastic because there's absolutely no chance you'd be scrabbling all over a darkened stage at a gig trying to find it after it flew out from between your fingers...

But it has a lovely personality, I hear. No worse than those Zon Hyperbasses (which I've always suspected is what gave Steve the idea... But certainly not my personal cuppa char.

https://reverb.com/item/2807408-wal-3-octave-fretless-custom-2005-quilted-maple-facings All, looks like Steve Chesney is selling one of his two 36 fret Wals.. The fretless of the pair. He just posted a link at the FB Wal group. Pete at Wal only ever made two of these, both for Steve. Looks like a southpaw might be in with the chance of a truly unique bass! No affiliations other than being a huge Wal geek.

You say you want to get into the world of weddings/functions... Welcome the the world of wedding and function gigs. Having played loads of weddings these were the comments that really chimed for me. [quote name='scalpy' timestamp='1472460253' post='3121176'] If you want to get into functions, like many have said above, this stuff happens, but you're there to be a problem solver for the clients not a problem. The less hassle you can give them and the venue the better your reputation will be. We got asked to take off our shoes loading into a venue the other day, (the venue is part of a working arable farm and a bit dusty) the owner was delighted she didn't have to mop the floor after our sound check. More specifically to your circumstances, make sure someone babysits the mix and make sure you agree exactly how long she'll sing for. We had a venue ask us exactly the same thing, and the girl sang turgid teenage misery ballads for over the allotted time with absolutely no stagecraft/ audience whatsoever. It almost killed the entire gig! [/quote] [quote name='Phil Starr' timestamp='1472397961' post='3120805'] Functions are like this, they usually pay better but they are more hassle. You usually end up offering mics for speeches for Uncle Albert to do a 'turn' or you may be asked to provide a background playlist for the break. the people booking you are usually good people but have no experience of working with bands. Yes they should have asked but if they have transgressed then it's probably just because they don't know the system or as suggested that a polite request got lost in the Chinese whispers of it getting to you. It's no real biggy to provide one mic and tweak a knob or two as you have the PA there anyway. It'd be more hassle if she brought her own PA. £350 sounds like a good sum for a first gig. Relax [/quote] [quote name='kusee pee' timestamp='1472400374' post='3120831'] In my experience, it's worth being as accommodating as possible unless there's a real cost to you or a risk to your equipment. It's a shame you weren't asked before but if you show willing to do everything to make the event special then the chances are that the reputational benefits will come back to you. Particularly if you are trying to get a foot in the functions door. There have been many times where we've got bookings from guests, friends, relatives of the original client and it's as often from how we are to deal with as how we perform. Of course you don't want to be taken for a ride but you should be able to get a win from this I would think. [/quote] [quote name='ambient' timestamp='1472408338' post='3120922'] Lots of flexibility and patience is needed for wedding and other function gigs. You'll arrange everything down to the minutest detail weeks in advance, then on the day the bride will change her mind about something. You'll need to be able to just accept that, and to be able to be flexible. Playing times, set lengths, where you set up, the times you set up, they can and invariably will change, often on the day. Just grit your teeth sometimes, smile and enjoy the occasion. [/quote] You'll run into this sort of situation all the time. The question you need to ask yourself is how do you want the clients to feel about you. "Well, we paid them all this money to play and then they started to get really arsey about all sorts of stuff. I really really wouldn't recommend them for your 40th party..." And believe me, they just have no clue about band etiquette, they will think they've paid top dollar however much discount they've been given, they have no idea they've taken a bit of a liberty etc etc etc. Had all sorts of stuff from the happy couple. So long as real liberties aren't being taken Its better to be "Oh they were so lovely and helpful, even when we ended up messing them about about (whatever)... I'd recommend them to anyone. Definitely book them." Certainly establish limits (which may or may not be flexible) but remember that you aren't there as a band. You're certainly not there as "an artiste". You're there as a service provider in the service industry. Weddings never run as planned or to time. We've been in the position of dropping entire sets because the photos and meal and speeches etc ran on so long. As to the X-Factor wannabe definitely remain in control of the PA. You could say to the bride, "Well, we're just thinking about the flow of the evening, and singing with backing tracks can flag after a bit compared to a full live band so I'd really recomnend keeping her set to 30 mins, 40 at most. It will just make the whole thing flow so much better for all your guests." That may convince her. Anything perceived a band whinging won't achieve anything other than scenario 1 above. But if she insists you may just have to grin and bear it. You should also ask to deal direct with the other singer, so ask for contact details. And then agree logistics direct with her. Including transition logistics... I'd suggest something like. After the allotted time the band will quietly take up positions behind her on stage and at the end of the song will make a Thank You announcement to the audience... E.g. "Thank you to Wannabe Starlet for an amazing set. Amazing! Let's have a huge round of applause for Wannabe Starlet (cue polite smattering of claps). No let's have everyone up onto the dance floor for [Mustsng Sally/Brown Eyed Girl]..." To maintain the flow of the music, of course. The fact it makes you look professional and keeps you in control is merely a bonus!

[quote name='Mark Dixon' timestamp='1472228630' post='3119682'] One more Wal, Mk I cherry burst flame maple.. yum yum [/quote] Droooool!

This thread got me thinking about changing musical tastes... When I was 16 my absolute fave bands would have included: Electric Light Orchestra, Thin Lizzy, Gordon Giltrap, Doobie Brothers, Yes and Horslips. All still high up on my listening list today. Others would have been right up there too. Pre-hair metal Whitesnake is now on the "Meh!" pile (though I still love Neil Murray's playing on those tunes). However, Led Zeppelin, Emerson Lake and Palmer, Gillan (silly metal phase) and a good chunk of 70s Deep Purple, although top spins then, I now find pretty much unlistenable! How times change.