PaulWarning

[quote name='KevB' timestamp='1425035062' post='2703161'] Jim Dunlop nylon (not tortex, too stiff I find) 1mm all the way for me for those I play pick on. Wish they came in other colours than black, easily lost! [/quote]^^^^ this, especially the colours comment, the times I've put it down on the top of my black amp and have to take my sunglasses off to find it

as I said in an earlier post, being a singer is mostly about confidence which is why most singers are self centred narcissists. Unfortunately that's what makes them good front men.

[quote name='mSz' timestamp='1425037048' post='2703199'] Get guitar or piano and start composing. Then find people who wants to play music and have fun doing it. [u]IN MY OPINION[/u] Pub covers bands are waste of time. [/quote]Fixed, a lot of us enjoy playing in pub covers bands

learn to sing yourself, seriously, have lessons if need be, practice at home by recording yourself and singing through headphones, I improved my singing loads by just doing open mics, most of it is just confidence

[quote name='discreet' timestamp='1424946135' post='2702141'] Yes. But the fact is, you wouldn't have been! The one thing people [i]don't [/i]say on their death beds is, 'I wish I hadn't done so much shagging'. Well... unless you're Freddie Mercury, that is. [/quote]depends, shagging around usually involves upsetting someone else, most people with any degree of humanity regret that, I had chances to cheat on my ex, I never did and I don't regret it now, mind you I did at the time :-)

[quote name='blue' timestamp='1424930720' post='2701994'] A little off topic. Thing is, for me at least. At 62 I have lost the ability to know if a young woman is giving you the sign that she's interested. When I was a young guy my instincts were a lot sharper. Last weekend at a gig, I helped a young cocktail waitress ( 26 or 27 years old ) lift a case of wine. She made some comment like, [i]"It looks like we work well together"[/i] Was I suppose to do something? Blue [/quote]I know what you mean, do they fancy you or are they patronising an old man lol, personally I have a rule, if she's younger that my eldest daughter that's too young, A younger woman was coming on to me once (well I think she was), trouble was I'd known her since she was a young girl, I would have felt like a paedophile

[quote name='spacey' timestamp='1424897393' post='2701754'] The ultra heavy weight 77-78 precision and marshall Superbass with 4x12 are all thats required. [/quote]I was under the impression that JJ's green bass was a 1963 model, not familiar with a the Marshall superbass, I assume it's got a valve overdrive channel which I think was what JJ was doing with a 50 watt sound city guitar amp, anyway there's definitely some sort of distortion going on, not all in the fingers :-)

have seen a few bands where the bassist has used markbass gear, always sounded a bit dry for my taste, but that's fine for some styles of music, just not mine

thing to remember about JJ's tone is it needs to be high in the mix with a lot of space round it otherwise it just gets lost, because it doesn't punch through, I've tried it, but our guitarist has a gutsy distorted tone and it just didn't work

I packed the band when the kids came along, it's a very difficult time anyway, fast forward 20 years and I started the band up again just as my wife walked out, nothing to do with that but the kids grew up and all of a sudden we'd got nothing in common, I've now got a partner who loves coming to gigs, but 2 of the members have just announced they're leaving after 10 years and I suspect it's something to do with their partners. Basically I can't see how a relationship can survive unless the wife/partner supports what you're doing, especially when there's youngsters involved, she's at home looking after them while you're out having fun, no wonder resentment builds up

didn't do J J Burnell any harm

[quote name='EssentialTension' timestamp='1424611885' post='2698227'] Probably true but I suspect the Chuck Berry Talkin Bout You original may have been Willie Dixon on upright. [/quote]just checked it out, doesn't sound like a double bass to me, and it's in C which means there's some open strings in there which makes it easier to play, it is the same as ISHST (apart from that's in E) but it's a pretty generic rock and roll bass line so Talking about you probably wasn't the first song to use it

I'm probably just making excuses for myself but ISHST would be easier to play on a short scale bass like a Hofner than say a big fat necked Precision

I can see how different ways of playing would alter the tone, even pick players like myself can alter the tone depending on where we hit the strings, nearer the bridge will give a different tone to playing near the neck, but it's only one tool we use to get a different tone, to say you can get any tone you want just by changing the way you use your fingers is, as Cosmo Valdemar says, bollocks

[quote name='ambient' timestamp='1424536397' post='2697452'] What he's trying to say (I think), is that if you play a song using a Stingray, then swap and play the same song on a Jazz. You'll sound like you, playing either a Jazz or a Stingray. Either way, you'll sound like you. There's a lot more to getting someone's sound, than just going out and buying the same gear. You need to look at how they played, and what. You can (and lots of guys have), go out and buy exactly the same gear as someone you like, and still not sound anything like the person you were trying to emulate. See my earlier post where I stay that 2 guys can play exactly the same bass, and sound completely different. Try it next time at a gig or rehearsal, give your bass to another play, and have them play something on it. If I wanted to emulate someones sound, then I'd sit down and maybe watch them play on Youtube, see where they play, and how hard they attack, finger style or pick etc. Then use what I've got to try and get close. I've just actually taken on a new student, he's really into The Stranglers, so I need to check out some of Burnell's playing over the weekend, so I've got something to work on with him. [/quote]right, if that's what he meant fair enough, perhaps something was lost in the translation from our American cousin lol, if you substitute 'playing style' for 'tone' it would make more sense, i.e. my playing style will be the same whatever bass I play. as for Burnell's 'tone' you need to play with a nice thick pick as a starting point IMO

[quote name='blue' timestamp='1424391281' post='2695969'] Ok, I'm officially an old fuddy duddy. I have listened to the Strangler's track. No disrespect to the OP. I am concerned over the recent discussions around tone.Where it comes from and how to achieve the tone you want. I'm taking a hard stance that it does not come from the bass guitar. It has more to do with what you do with your fingers, your style, how you execute, attack and deliver your lines.For example, to me the tone of a pick user is a lot different from guys that use their fingers. If you don't make any connection in your playing between your attack, your control of finger muscles, your dexterity or aggression I think you need to re-examine your whole concept or philosophy on tone. My tone will be the same with any bass I play. I think or I hope this will probably resonate with the more senior players. Now processing and amplification is another discussion. edit, btw we're going way of topic here Blue [/quote]so we're wasting our money by buying say an MIA precision over a Squire affinity or there's no difference in sound between a precision and a Jazz or a Stingray? or have I misunderstood your post? edit, btw we're going way off topic here

listening to music is all about ambiance for me, if I just to sit there listening to vinyl or CD's through my Hi Fi (rega planar 3/Nad 3130/Arcam Alpha plus/ Mission 760i) I soon get bored, but cycling home from the pub listening to my mp3 player (hopefully on a cycle track) is marvellous, or in the car whilst driving is great to.

[quote name='gafbass02' timestamp='1424421862' post='2696066'] Oasis are stil current in the sense that I can't get through a single gig without one drunken chavvy bloke agressively demanding them all night, or host one open mic without one guy pretending to be them. :-/ Drives me nuts, which is why I finally 'relented' and arranged a completely different 'rock' version of the most requested song 'wonderwall' just to shut them up and to date a sense of mischief (Which I demo'd up on GarageBand on my iPad if anyone's interested) [url="https://soundcloud.com/gafbass02/wonderwall-rock-ipad-demo"]https://soundcloud.c...-rock-ipad-demo[/url] [/quote]nice arrangement, but in a way it goes to prove that the melody line is the main part of this and most songs

I got this using MIA P, 1mm pick and a zoom 506II on the dr setting at the half way point, and recorded straight into my computer using audacity

[quote name='cheddatom' timestamp='1424184651' post='2693569'] To get a clicky "modern metal" bass drum, you need to cut all the mids out, which would leave plenty of room for bass guitar IME the kick drum sound they [u]should[/u] go for is to cut everything between 200Hz and 5KHz, then boost sharply at 10KHz This isn't necessarily a bad approach, as it should leave plenty of room for bass. I've definitely experienced the phenomena, and we had another quite lengthy thread on the subject only a few weeks ago. What causes it is way beyond me! [/quote]fixed, and only when it's a modern metal band

been getting on my tits for a while now, there's a current fashion for having the bass drum loud in the mix, usually quite clicky which is the frequency the bass sits in, so to give the sound bottom end they EQ the bass right down the result being it's a muddy mess. It really pissed me off when I went to see the Quo reunion gigs, I wanted them to sound like the did in the early 70's not hear the thum thum of the bass drum all night. edit, I know sod all about mixing either, but I do like to hear what the bass players doing

I do a bit of home recording, just demos for the band really and being a tight arse I do it on the cheap, I use audacity and record one thing at a time, start with the drum track, I use Hydrogen,then just by pluging the mic/bass/guitar into the mic socket on my computer just record one track at a time, the only cost is a lead to convert a 6.3mm jack to a mini jack, if you get one with two 6.3mm jacks into one mini jack you can record 2 tracks at once, one track to the left channel and one to the right, like I said a super cheap option but good enough for demos

[quote name='EBS_freak' timestamp='1424086952' post='2692350'] Potentially leaky monitors could do the trick to do the ambient thing - but monitors are all about control (you put what you want to hear down them with nothing from the outside world to harm the mix) - so if you go down that route, remember that each gig could be different in terms of volume (for example the guitar amp could be right behind the singer one gig and not the next). I've said it many times in this thread and I'll say it again, you can't really do an IEM solution on the cheap and it be good. If you compromise on aux send (e.g. desk), transmissions (e.g. the wired cable or wireless unit) or in ear monitors, you are already losing the game. I hear many people that have said they have tried IEMs and they are rubbish... but usually its because they have skimped on 1 (or usually all) of the 3 parts. I would suggest some moulded ear plugs and a wedge over IEMs if the cash is tight. As for the monitoring system you posted, I have no experience of that system so can't comment on it's particular performance... but what I will say, my experience of cheaper systems is that they are noisy, lacking in bass, prone to drop outs and produce a generally harsh and fatiguing sound. Even some of the more expensive systems (e.g. the PSM200) - I think are very poor. It may be worth a punt... but be mindful that you would be lucky to get the same sort of quality out of a 60 quid system vs something like an EW300. [/quote]cheers for the comment, we're not really after good quality, (within reason) the singer just wants to hear himself without the rest of us having really loud vocals through the monitor, as I said I don't want to go down the mic everything up route, I want to keep it as simple as possible

I don't really see the point in slagging off another band, one man's meat and all that, any band that's sold a few records must have some people that like their music, we supported a Kasabian tribute band at the weekend, not my cup of tea at all but some folk liked them

[quote name='EBS_freak' timestamp='1424003947' post='2691361'] Using one monitor in your ear is bad idea - its a surefire way to get hearing damage very quickly as you over compensate the monitor ear and end up blasting your ears. Ideally you should be routing everything you want to hear through IEMs. Have you tried the wedge route or one of those on micstand monitors. I've said it numerous times in the thread, you can't do good IEM on the cheap. Woodinblack - Drop tonyf a line. He uses LD systems stuff (not entirely sure which one) that is a lot cheaper than the Shure and Sennheiser monitoring systems mentioned. Maybe for a little more money you can stretch to the MEI 1. Anyway, ask Tony, I've never heard one - we keen meaning to have a shoot out but various situations have prevented so far! You can always put am ambient mic pointing at the band and send that only through the aux and not fog if the singer needs to hear more of the band. Depends how good the inears are at blocking out the sound. Wireless mics and inears can be run simultaneously as long as there is enough space in the spectrum in which they are operating to run without running into intermodulation problems. In band 70 you can expect to run 3 or 4 wireless devices. In channel 38, (paid band), you can typically run to 8 devices and maybe 9 if you are willing to risk a little robustness (of course, there are now devices that can be run on very low transmission levels and you can cram many of those into a very small piece of the spectrum... but they tend to be very, very pricey). [/quote]so if you use 2, but ones that haven't got very good isolation that should do the trick? I'm trying to find the easiest way to solve the monitoring problem for our singer without spending a load of cash and making setting up a pain in the arse. for instance what's wrong with this? http://www.gear4music.com/PA-DJ-and-Lighting/Wireless-In-Ear-Monitor-System-by-Gear4music/OUE