chris_b

Reading previous posts, IMO replacing a battery is less hassle than changing strings and less frequent. What can go wrong with active Electrics on basses? They hardly ever go wrong these days, and most preamps have a "get you home" passive option anyway. They are only as difficult to operate as you want to make them. At the very least you can start with all the controls in the middle and work back and forwards from there. I have 2 passive basses and 3 active basses and I just had to stop and think which was which! My Lull Jazz is an 18v pre amp. My first experience of one of these. Yet again the sloppiness in my technique has been exposed! This bass has a level of clarity and punch that I've not experienced before. It sounds amazing. Buy the bass you like the sound of, if it's active or passive is something that should be discovered later.

No dislike of active basses here. The only preference I have is for passive P basses. Other than that it depends on the sound of the instrument, the pickups and the pre amp.

Find out how much the charity gets out of this. I would not be surprised if their percentage was lower than the promoters! Edit: I'd pass and give your money directly to the charity.

Looks like the end of a Who concert.

I bought Stuart's Lakland 55-01. Good sale. Top bloke. Many thanks. Chris

That's how clever and inventive Funk has become. You can have a whole number where no one hits "the one" at all. Intertwine enough riffs with different accents and emphasises and the 1, 2, 3 and 4 can all disappear. That video is in 4/4.

Funk was a very simple and effective music when it started, so simple that a rule like "the one" was enlightening and worked. Funk has evolved and developed in the last 50 years in so many ways it now looks completely different to it's ancestors. So while "the one" is still part of the grammar of Funk it isn't a "rule" or literal description any more.

Yep. 2 112 cabs is a great stack. The sound develops and improves 1000% when you add the extra cab.

I play from acoustic duo's to ear splitting loud, but I'm always focussed on playing at the volume the situation demands. My gear is designed to cover all eventualities so it's only a question of how many cabs to take and how much master volume to dial in. If it was my decision I would always play quieter rather than louder. Unfortunately I don't run a band so it's hardly ever my call. I'm only unhappy if the band hasn't hasn't got a good balance or hasn't gauged the gig correctly. It should be a basic skill to match your volume to the gig so the promoter and punters are happy. I don't buy the guitarists line, "I need to be loud for my sound", or drummers who say "I can only play at this volume". That's BS and if the good players can do it why can't these guys? I put my seat belt on and wear custom ear plugs. Basic safety procedures.

I have no idea what heights my strings are. Assuming the neck is right: I take the action down until all strings are buzzing and then bring each string up until it plays clean, without any buzz pop or clank, along the whole neck.

It was a one off and it finally resolved in the customers favour. I don't see the relevance.

I know the myths will probably never die, but Fender since 2008 is not the Fender of old. I have an Am Std Jazz V which is a very decent bass. IMO worth every penny. I just tried out a new Am Pro Jazz V and it was a cracker. It felt good to play and the pickups sounded very good. An excellent sounding 34" 5 string bass. The problem Fender have with the new range is that people don't equate them with expensive instruments. The complaint is Fenders cost too much, but these are far better basses so why should they cost peanuts.

My Thunderfunk has more watts than my first 3 bands put together. I love it.

Either this guy is a total novice or, as everyone so far has said, he is trying to con you for a new set of strings. Most people, certainly the players who are any good, will change the set up and strings on a bass as soon as they get it and before they do anything else. I also check the intonation. I bought a bass just before Christmas and it had newish strings on, which I wasn't expecting. I have the set I was going to put on still waiting in the bag but I wouldn't even have mentioned it to the seller if the bass had turned up sporting a totally dead set. Then there's the battery. If the bass is active I always change it. That's the point where I know I'm good to gig with confidence in the new instrument.

[quote name='cheddatom' timestamp='1484311369' post='3214566'] so is "The One" referring to the position of the note in the bar, or is it referring to the root note at the start of the repeating bassline? [/quote] JB's "one" was hitting the first beat of the bar, which is what all his riffs did. As soon as you start getting creative with "the one" it can mean anything.

[i]"However - We've never stocked BareFaced and [u]won't take them as PX either.[/u]" [/i]That's a strange business decision. Both Bergantino and Barefaced are in the top echelon of bass cabs ever made. Whether someone likes them or not doesn't change that fact. The reality is. . . you don't get "best in show" awards and reviews (as both these companies do) by not being one of the best.

. . . . in your dreams. There will always be valve amps but in the bass world valves have been a niche market for many years. Class D is the de facto standard for PA systems. The move into the bass environment has been slower and fragmented but the rate of improvement is increasing and will reach a point where Class D will become the standard for bass players. 5, 10, 20 years? I don't know, but it's coming.

Riffs and bass lines can go anywhere but the "one" is always on the one. JB's "one" was a sledgehammer. In some music the "one" can be implied and to the point where it disappears. The further down in the mix it's buried the less funky the number is.

Wow. . . ! I used to see Victor Brox with the Aynsley Dunbar Band. Great singer in a great band.

Checkout the various Lakland basses in the classifieds.

I prefer a clean, full and fat sound with a lot of low notes so I believe I get a better sound by using half of a more powerful amp rather than all of a less powerful amp. I'd rather have one great amp to cover all gigs so I use the same amp for small, medium and very loud gigs. My go-to amp is 500 watts but actually I bought both my 800 watt amps not because of the volume but because they went to 2 ohms.

I don't think so. Lakland, Sadowsky, MTD, Overwater, Fender, Musicman and many other quality manufacturers have "cheaper" lines that are highly rated in their own rite and these haven't impacted the reputation of the main brand. I don't see why Fodera will be adversely affected. These new basses will cost less than the custom models but with the focus on quality they will still be amazing instruments. That they are double the price of some other bass is pretty irrelevant.

I wish I'd seen that.

A long time ago I was at an Art Farmer gig in a small club in Brussels, when in walked a few of the Count Basie Band. They had just played a gig at the Palais Des Beaux Arts. After Jo Jones, the Basie drummer, had finished with him, the Belgian bass player had blood running from his fingers and a smile a mile wide. If you ever gig at Kenny Jones's Polo club he might ask if he can sit in. He's good and still does a mean shuffle.