Count Bassy

[quote name='Mike' post='268807' date='Aug 24 2008, 11:25 AM'][color="#8B0000"] [size=4] Bass Cellar - London's Leading Bass Guitar [b][size=6]Speacialist[/size][/b][/size] Nothing sounds like a hollow body. [b][size=6]Vist us[/size][/b] to find Hofner Violins..... [i]Mark bass[/i] amps are the leaders in [i]light weight[/i] amps which is why we make sure we keep [b][size=6]thier[/size][/b] full range in stock. [size=6][b]Asdown[/b][/size] cover [i]every ones[/i] needs. From [b][size=6]thier[/size][/b] electric blue.... GK - [b][size=6]Vist[/size][/b] us to see [size=6][b]thier[/b][/size] range of versatile amps. Warwick - Handcrafted in Germany using exotic tone woods, these [size=6][b]supperb[/b][/size] basses start at just £599. [/color][/quote] .. and surely "every ones" should be "everyone's"

Stay with me (The Faces). What a cracking song.

My teacher has has got me doing the major scale, but doing all the modes which you run up and down in sequence. Ie you start with the normal C major scale (ionian mode) going up, then move up to C major dorian mode (ie starting on D) -coming down, then up on the phrygian (E start), and so on all the way up to the Ionian mode an octave higher.etc then down all the way doing each scale in the different direction. When I started this it looks pretty daunting, but its actually a lot easier than it looks, certainly teaches you the patterns for each mode, and gets the left hand fingers moving. Mind you, I find that knowing it as an exercise is not the same as being able to use it in a tune! And as others have said the beauty is that on a bass you can start at any fret and it gives you a different key. Also, for one octave scale, you can start on the E, A, (or string to give you different scales. Edit: I tried to say, or B, but it put a smiley in

I have a small problem with with my Ibanez GWB35 that I bought second hand a few months ago. Specifically one of the saddle height adjusting grub screws on the G string unscrews itself over a couple of weeks playing, so the action keeps lowering itself. Has anyone else had this problem, and how did thay solve it? I've thought of using one of the proprietry thread locking fluids (loctite etc), but there's such a range I don't know which to go for. Its still got to be adjustable with the allen key when I want to it to move, but not to move on its own. I've also thought of deliberately damaging the thread a bit to make it stiffer, but I don't want the damage to transfer to the saddle itself. Any ideas anyone?

As he's had the neck off at least once (for the photos) is it possible that the neck hasn't gone back on quite square, hence the string alignment?

[quote name='Oscar South' post='252003' date='Jul 31 2008, 01:02 PM']Another thing is that this 'X player has accomplished so much more than you so you can't critisise him/her' thing has to stop, anyone can have an opinion and voice it about anyone, theres no pre-requisite requirement to meet.[/quote] Spot on! To suggest that someone has to be proficient, or be better at something, in order to hold and express an opinion is ridiculous and ultimately dangerous. before long we would not be able to: Dislike a particular beer (as we couldn't brew it ourself) Express a preference for a football team (unless you could do better yourself) Make a choice about which restaurant to go to Fancy a member of the opposite sex (i'm not a woman, so how could I possibly have an opinion about one) " " " " " Vote!

[quote name='thebeat' post='249034' date='Jul 27 2008, 06:31 PM']I do prefer arse though.[/quote] Careful!

[quote name='OutToPlayJazz' post='251642' date='Jul 30 2008, 08:58 PM']This is why people like Victor Wooten & Jeff Berlin are so important. They inspire us to be better bass players. Period.[/quote] Well, that particular example didn't inspire me to do anything other than turn it off. After thought: Perhaps it did inspire me never to try to play like that, so that probably will make me a better bass player! As they say 'no-one is useless, even the worse of us can act as a bad example' Ducking quickly as I press the 'add reply' button.

[quote name='Clarky' post='247112' date='Jul 24 2008, 06:24 PM']don't fancy yours much[/quote] I don't fancy yours or mine!

[quote name='martthebass' post='247095' date='Jul 24 2008, 06:13 PM']Thought that was William Hague. ......... Despite his comment, he'd never touched a pint of John Smiths in his life [/quote] Well at least he's got some taste then!

[quote name='Delberthot' post='246156' date='Jul 23 2008, 02:47 PM']Unfortunately, finding the right string for you can be very time consuming and expensive. Even if you find the right sounding one, it may not be the ideal gauge for you.[/quote] And even if you find the 'perfect string' you'll probably find that 6 months laetr you want something slightly different again.

On my Urge Mk 1 (32") I currently have D'addario nickel half flats (ground wound) - the ERN71 set (100 - 45). This was an attempt to mellow my sound out a bit as I found that with round wounds I was constantly playing with the treble backed right off, and it worked treat. I love the sound of them, and although they felt a bit odd at first (sort of sticky) that either went away within a few days, or I've got so used to it that I don't even notice anymore. I had previously tried some heavier strings (Elites), but I didn't get on with the heavier gauge tension-wise, and it still didn't give the sound I was after. On my other Urge Mk1 (Mex) I think it still has the original Fender strings on, though I don't know as it was bought second hand. These are round wound, but seem to be quite mellow, and I'm fairly happy with those sound and tension wise. Are Fender strings known for being fairly mellow, and lowish tension for the guage?

[quote name='Ray' post='245329' date='Jul 22 2008, 01:20 PM']Customer service at PMT is non-existant in my experience. They are complete tw@ts, IMO of course.[/quote] On the other hand I used PMT in Northampton to get my lad his electic drum kit and I was very impressed with their service (and the price was OK too).

Perhaps Peter Jones wants to be 'in the music business'.

[quote name='gilmour' post='244998' date='Jul 22 2008, 01:39 AM']My favourite daft question used to happen to me once a week, every week, when i went into my local post office, with my bass ... Shop "So, catch anything interesting..." Me "hmm?" Shop "been fishing haven't you?" Me "erm, no, no, it's bass guitar" Shop "ahh" Every effing week, for two years! To top it of, I have seen a fishing rod before, they are a lot longer and thinner than bass guitars, and only have one string [/quote] I don't believe that they are that daft. They probably view it as a running joke, and enjoy seeing your reaction. Try changing you're response to play along with it! Some sort of pun on Bass (the instrument) and Bass (the fish) perhaps?

There's a steinberger Sprit on t'bay as we speak Item no: 180266980529 Currently £100, no bids + a hohner Jack Item No. 290247155575 Also currently £100, no bids

Ashley Hutchins? A bit of a Tw@ from what I've heard, but a very influential folk bass player in his day all the same.

Actually OG, you raise a further point there. Do current classical composers get peed off because the orchestras/audiences insist on playing/hearing Beethoven/Bach/Mozart & such? Paul, that's a fair point you raise there, although the fact that royalties go to the author is probably no consolation to the actors in the professional production. I have absolutely no problem paying royalties to the author's of songs, and I'm sure it's just the practicalities that result in the different methods of collecting. After all most ametuer dramatic productions last a couple of hours and go on for several nights, so you can cover 6-8 hours of entertainment in one payment. If you're doing 20 songs for one night only then it gets rather messy and inefficent. Some of the restrictions that are put on theatrical production are (IMHO) really ridiculous. Our local primary school put on joseph & the coat thing, and one of the license restrictions was that no-one was allowed to video it - how petty can you get. So if things went really wrong with a song how far out of time would the guitarist (we all know that bassists don't go out of time) be allowed to go before it counted as a separate (but simultaneous) performance of the song, and thus incurr double the royalties?

[quote name='MananaMan' post='240268' date='Jul 15 2008, 06:18 PM']Why are songs by famous people automatically better than songs by someone you've never heard?[/quote] It may seem to contradict what I've said previously, but I don't believe that they nessecarily are. I've got quite a collection of obscure CDs as well! But: Most famous song writers & bands are famous because they have written a few good songs (and in many cases a load of crap ones as well). I.e. the good song makes them famous rather than them being famous making the song good!! Also, it is quite possible to write a cracking song and not become famous! Also, it is quite possible to be famous based on past achievments and still write crap (eg McCartney) [quote name='MananaMan' post='240268' date='Jul 15 2008, 06:18 PM']At the end of the day, I think I really mean to attack the cult of celebrity rather than anything else. People in cover bands - if you could get the same money playing songs that you or a member of your current cover band had written (and that you had more of a personal engagement with), wouldn't you rather do that?[/quote] On the cult of celebrity question I'd agree whole heartedly, especially these days when people expect instant success via the X factor or some such, without having to put in the hard graft that people used to. On the second point, yes I would prefer to be playing our own stuff, and I'm sure that most people would. Unfortunately none of us in the band have any talent in that direction, so given the choice of playing covers, or not at all, then I'd go for the covers. Taking it further, and as I said in an earlier post, for lots of us ameteurs the buzz of playing to an audience would probably be enough in itself, and the payment is a bonus. As I said in my first post professional musicians suffer from the fact that what they do for a living other people do for a hobby, so the market is inevitably distorted by that, especially at the pub gig level. I do feel for pro's suffering from that situation, but what can you do (unless you're the government or the Mafia)? I just had the thought: Do professional actors complain about about ameteur dramatics people in the same way? its a similar sort of situation.

You Englisch: you think ve germans know f*** nothing, but ve know f*** all!

[quote name='MananaMan' post='239403' date='Jul 14 2008, 06:45 PM']If these things didn't exist then the public would still hanker after live music, and they'd be happy to go and investigate whatever is out there. Or maybe I'm just an optimist.[/quote] Or just a dreamer! Whilst in your dream, why not have radio stations banned from playing any records over 3 months old so that all the amazing new acts that are around can get the air play they want without any fear of competion or having to prove themselves!. Seriously though, in the real world things aren't going to change. A large proportion of the gig/pub going public are more than happy to hear songs they know performed live. It's no good burying your head in the sand and insist that they are all wrong, and that they should be listening to new unknown bands performing material which can be largely crap. The songs that are popular on the covers circuit are popular for a reason! They are good songs which have stood the test of time, which people like to hear! If an originals band is any good in what they do, and in promoting themselves, then they will break through and be deservedly successful. If on the other hand they cannot tempt people away from a night in the pub watching a good covers band, then they probably don't deserve success however good they think they are. You dream of a situation where the field is left open for originals bands. I could equally dream (but I don't) of a situation where crap originals bands are drowned at birth to save us all from having to hear them. My hypothetical dream won't happen, neither will yours. We all need to accept the reality of the world, and make the best we can of it. All IMHO of course, and no offence intended. Spleen vented.

Paris Texas - Ry Cooder Sweet Talker - Richard Thompson

The problem seems to arise from the fact that music (& I suppose performing arts in general) is one of the few areas that is a profession to some while is a great hobby to others. The pro needs to work for a decent fee to eram a living, and I can understand them occassionally getting frustrated when they see themselves being undercut by ameteurs. As several have said however there is a big difference between a pro and an ametuer, so how often are the pro and the ameteur truley in direct competion? I suppose the argument is that the ameteur bands going out for low fees generally drags the whole market down. On the other hand, most ameteurs beyond a certain age have no illusions of ever becoming a pro, but many still want to feel the buzz of performing to an audience. These are not pro's and cannot command a professional level fee. For many of these people the choice is to go out cheap or not to go out at all, and they shouldn't really be criticised for choosing the former. Even those ametuers wanting to become pro's have to start somewhere, and I'm sure many of the pros have done cheap gigs when they were trying to get established.

I've got one of the Fender floor pedal type units and its great. Seems very tough , with a big bright unambiguous display, which I can even read when stood up, even without my glasses. Mutes the output while tuning, or not, according to which socket you use. Seems to tune down to a B with no problem. Only problems: You actually have to stamp on it quite hard to turn it on/off. If you leave it on and with the input connected it sits and eats batteries, buts thats really down to operator error. Also have a Korg AT-12 analogue unit with a real moving needle. Also excellent, and probably a better tuner, will generate a pitch and allows none concert pitch tuning etc, but not really up to stage use.

IIRC: If you have a valve amplifier with an output transformer then you get the most efficient power transfer from the transformer to the speaker when the output impedance of the transformer is the same as the impedance of the speaker. So although lowering speaker impedance increases the internal power of the amp more of rtaht power is lost in the amp output stages, so you don't get double the power at the speaker. Mind you its about 30 years since I studied this.