Count Bassy

[quote name='thepurpleblob' post='997859' date='Oct 23 2010, 10:49 AM']Mustang Sally isn't an easy bass line - everybody just tells you it is!![/quote] Mustang Sally is probably the one that I thought I knew best (and thought was relatively easy). However I've just spent an hour with my teacher going over the subtleties of the bass line (Commitments version), so I'd agree with you there. Not a vast number of notes, but subtle timing in many places. JTUK mentioned age of the band in reference to the set list. Well the guitarist is 60, Keyboardist (is this a word?) is 53, Drummer about 50. As far as I know they've al been playing all their adult lives, and served their time in numerous bands. I'm 53, but have only been trying to play seriously for about 4 years, and probably played a total of 10 or 12 gigs, so you can perhaps understand my trepidation, - this would be stepping up a league (or 2) for me! Thanks for all your comments. It's heartening to know that a lot of it is to do with getting on together etc, rather than playing ability!!! - gives me a fighting chance at least.

[quote name='hitchy64' post='997482' date='Oct 22 2010, 08:04 PM']I totally agree with the above Dude. Just stay relaxed and be cool, they'r not hard numbers to play. Enjoy and let us know how ya get on [/quote] Yeah I realise that they're not technically too difficult, although I've not played any of them before. I think my main worry is that nerves will get the better of me and I become a gibbering pool of sweat. I've never been in the situation of having to make music with someone I've only just met before.

Well, I'm starting to feel a bit nervous. I've had a response to an ad on JoinMyBand, and have arranged to meet, with instruments, the other potential band members in a week or two. Now the few bands I've been in previously have all started from scratch and sort of developed organically, and although this meeting is not being called an audition (more a get together to see if we gel) that's what it effectively is, and, as such, is my first. In the ad and speaking to them I've been fairly honest about my level of ability, and limited experience. However I hope that I've also put over my enthusiasm and willingness to work hard as well, and they still want to meet me! Anyway they've given me a few tunes to work on: Take Me To The River ..................Based around the Al Green original 6345-789....................................Probably based on the Ry Cooder version Bring it On Home To Me................Based on the Sam Cooke's original Heard it through the Grapevine......Based on yhe Marvin Gaye version, but with Creedence and Roger Chapman influences and, wait for it......... Mustang Sally Yes, I know, but I like it and have never played it before. The guitarist says that it probably wouldn't be in the set list, but it's a good one to jam around with - which it is. Oh, yes, they want backing vocals as well. I've been working on these anyway but am still at the stage where either the singing or the playing can go a bit odd if I try to do both (again I have been honest about this with them). I'm on holiday in a cottage, with bass, next week, so if anyone has any useful words or tips, either in general auditioning terms (how to stay cool etc), or specific to the songs, then I'd be interested to hear them. Thanks in advance. Edit --PS: I tried to space the song list out with speces, but they seem to get stripped out - hence all the dots above.

[quote name='CHRISDABASS' post='994687' date='Oct 20 2010, 12:38 PM']Its the same on Sadowsky's i love it! I've never loosened my strings to do it though...........have i been doing it wrong ? haha [/quote] I tend to just pull the head back slightly to take the strain off the rod a bit while I adjust it, seems to work.

[quote name='Wil' post='996141' date='Oct 21 2010, 04:52 PM']I do wish they'd put some nicer looking headstocks on their basses, mind.[/quote] Personally I really like the headstocks, compact and do the job they've got to do. I don't like classic Fender headstocks on a bass - way too big for what they do although they too do what they have to do. One of the features of the Urge Mk1 I have is a more compact headstock and Grover type tuners - much nicer than the classic ones. I have a GXB 35 which I love (currently awaiting new pickup and preamp), and on the basis of that bought a SR505 as well, which I also love. Both superb basses for the money and, partly due the name on the headstock, can be had quite cheaply second hand (The SR505 was only £200!) I only wish they'd do a 32"

[quote name='TheRockinRoadie' post='977636' date='Oct 4 2010, 08:48 PM']Right this is REALLY annoying for me, i had 3 MB4210s blow up on me, and then my MBC115 cab blew the crossover, in the space of 3 weeks. Marshall did NOTHING and couldnt care less.[/quote] Your experience of Marshall service seems so different to other peoples, I just wonder if you were in direct contact with them or going through a distributor?

The 7215 Cab is now back on Ebay with £100 starting bid, no reserve,

I don't think I would [url="http://www.youtube.com/watch?v=ItZyaOlrb7E...feature=related"]http://www.youtube.com/watch?v=ItZyaOlrb7E...feature=related[/url] Snuck it in there.This should be a compulsory link in all threads!

[quote name='hillbilly deluxe' post='975103' date='Oct 2 2010, 04:27 PM']Fenella feilding.[/quote] You just made it worth my reading to the end of the thread!

As in the title and description really. A 'serious' ampliflier (alright only 200W continuous, but 2000W peak) 'serious' cab not getting £200? Is this due to hard times? the rise of light weight kit? The general downer some people have on Marshall bass kit? It being collect only in Weston Super Mare? Any other ideas? Please note that I am not and have no connection with, the seller. Just curious because if I'd not just got myself a DBS 7400, and it wasn't in Weston Super Mare I would probably have bid for it myself.

[quote name='Phil Starr' post='970309' date='Sep 28 2010, 07:56 AM']I'd back Bill on this one. I use copydex because I've always used it but the dust cap is a rigid fix and if cyanoacrylate is good enough for Eminence...[/quote] But is it good enough? The OPs problem of movement between the cone and the dome suggests that the original glue might not be up to it.

[quote name='civictiger' post='967036' date='Sep 24 2010, 07:06 PM']I would also look into getting a Marshall 7215, but they are so rare I wouldnt know where to START to look for one![/quote] There's one on E-bay right now being sold with a DBS7200 head. £200, no bids, reserve not met. 4 days left. [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=180566696587&ssPageName=STRK:MEWAX:IT"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...e=STRK:MEWAX:IT[/url]

Realising, whilst on stage, that you have no idea where you are in a song, and that you've been playing all the wrong notes (and I don't mean the right notes in the wrong order).

[quote name='Count Bassy' post='968104' date='Sep 26 2010, 02:28 AM']Unfortunately I don't have an input jack on any of my basses. All of mine have output jacks. Doh.[/quote] I was only having a dig because of their insistence on calling it an input jack when it's not. It actually looks quite a useful tool and avoids having to take covers off if you're in a rush.

Unfortunately I don't have an input jack on any of my basses. All of mine have output jacks. Doh.

[quote name='Ou7shined' post='946628' date='Sep 5 2010, 08:26 PM']It's no bother mate. Yes as the wire (or whatever) is invariably forced into making physical contact with the metal spade. It's possible when soldering to join components without them making actual contact instead the solder bridges the gap. This may be ok in the short term but as the solder dries out the joint will fail. It is especially important to make metal to metal contact when you are dealing with audio.[/quote] Solder is a metal alloy and does not 'Dry out'. Solder is also a good conductor so it is not nessecary to have the wire to lug direct contact as long as the solder is properly bonded to both parts. The main purpose of the lug with the hole in is to physically retain the wire while you solder it, thus it is a useful aid to making a good joint, but not essential. A dry joint is where the solder makes mechanical/electrical contact, but is not actually 'bonded' to the surface. The mechanical contact may be an adequate electrical contact when initially done, but sooner or later, especially with vibration or any movement (eg from thermal cycling) the joint moves and it no longer makes contact. However the joint always was dry, from the day it was made.

[quote name='Bilbo' post='964670' date='Sep 22 2010, 05:11 PM']I have a problem with reasonableness where music is concerned. It leads to mediocrity. Give me arrogant passion any day. [/quote] I would hope that passion and reasonableness are not mutually exclusive. Certainly have passion for what you do, but use a little reasonableness/ balance with regard to others (when I say 'you' I mean 'one', but using 'one' all the time sounds a bit posh). Also, is it not possible for someone to be passionate about playing Mustang Sally etc. as you (and I do mean 'you' here) are about jazz and improvisation?

Very cute, but couldn't listen past 20 or so seconds.

[quote name='dave_bass5' post='963183' date='Sep 21 2010, 12:12 PM']I can totally understand how some people will refuse to play songs they dont like. Ive no problems with that at all and respect them for it. But i do think that at some point you do have to, especially if you are there to entertain a room full of people. We all slag off songs like MS, BEG etc but i get the impression from my gigs that while we might not like them, 100+ people are dancing to these songs, so who am i to say a song thats obviously popular is crap. I may not like the song for my own reasons but that doeskin mean a song is rubbish. I sometimes get the feeling that certain people think they know best and are better than others, even when their eyes prove otherwise. Do what you feel is right, but dont put others down or belittle them for doing something different is how i feel about music. Just saying. Not aimed at anyone in particular.[/quote] Plus lots (except that I don't slag off songs like Mustang Sally etc.). If only everyone took such a balanced view. PS: never played Mustang Sally in my life, but would given the chance.

Is the head a separate piece of wood on these?

[quote name='JTUK' post='961206' date='Sep 19 2010, 02:33 PM']I'd want to see the band do something with the songs....if they are just going to try and rip the record..and probably do it not so well, I can go and play the record.[/quote] But taking that to the limit you'd never go and see anything live that was available on CD, - not even the original artist.

[quote name='The_D' post='958237' date='Sep 16 2010, 12:54 PM']And there is the point. We hate playing them because they are played to death either on the radio or by other bands. The thing is though, they are over played for a reason. People like what they know and love to sing along.[/quote] + many. Whenever this type of thread comes up I always sense an undercurrent of musical snobbery. Many of these songs have stood the test of time and are still popular with the audiences, so as entertainers we should have no qualms about playing them when appropriate. Instead there is almost an attitude of 'its popular so it can't be any good'. Sure, everyone is entitled to not like some songs, but please let that be based on genuine musical tastes rather than snobbery, or (dare I say it?) envy. How many people here would not like to have written Mustang Sally, All Right Now, or Wishing Well etc. Honestly? I'd happily have written any of them, and I'd be both considerably richer, and proud of having done so! Audiences in pubs up and down the country love to hear thes songs, and it's almost arrogant for us to think that we know better. As it happens my current (covers) band doesn't do any of those mentioned, so I've not got an axe to grind here.

[quote name='Bobby K' post='956593' date='Sep 14 2010, 09:43 PM']Is this the same as the outer mesh stuff you get on coaxial cable? When you say [i]expand it to fit[/i] how do I do that? Could I not just link the two cavities through the hole using a normal bit of insulated wire, soldered to the copper screen on both sides? Sorry for all the questions, we're nearly there now.... :blush:[/quote] Well you could just link the two with a bit of wire, especially if the wires from pickup are themselves screened, which they are on a lot of modern style pickups, However the 'hole' in the screening where the wire goes out is a hole in the screening where noise can get in. If the cables are not screened than you'd still be better off lining the hole/ screening the cables in some way. You might well get away without doing it, but if there's still some noise left after all the work you'll be left wondering if that's where it's coming from!. (Rather like soldering - its easier to get the technique right and make sure that each connection is good as you make rather than throw it together and then have to go over it all again trying to find the one dodgy joint that's causing a problem.) Re the braiding - yes use some braiding out of a good cable ('Woven' rather than wrapped around) - something out of a good microphone cabel etc would be good. After removing the braiding you'll find that it will narrow down as you stretch it, so you can poke it through the hole (depends how big the hole is), and then compress it end to end again to make it expand width ways again, against the sides of the hole. Then splay out the ends and solder to the copper foil. It is fiddly and a lot depends on the length and diameter of th hole. I've also considered using thin walled copper tube (like you get from modelling shops) to pass down the holes, but never actually don this. Please note, however, that I'm pretty pedantic about some of this stuff. You might get away with, or get an acceptable result without going to these measures! Two screened cavities linked by wire will be far better than no screening at all - its the old diminishing returns/Parento thing, i.e. 80% of the improvement will be achieved by 20% of the effort. However my attitude is that if you've got all the electrics out anyway you might as well do the best job you can while you're in there. Good luck with it. Clive

[quote name='Ou7shined' post='956203' date='Sep 14 2010, 04:39 PM']There is no need as it already is a ground wire and carries no actual signal. [/quote] Not totally true as the wire can act as an ariel and conduct noise into the screened cavity! But in practical terms your probably right, after all this wire goes to the bridge and hence to the strings, which act like ariels anyway and I can't think how we'd screen those! However, solder this wire to the copper screening close to where it enters the control cavity, dont take it to the jack socket earth, or the back of a pot etc, as any of this wire inside the cavity has the potential to re-radiate what it has picked up from the strings, which can then get into the signal path.

In industrial applications the current recomended practice is to earth everything* to the 'earth plane' as many places as possible. Reckoned to be far more effective for high frequency noise that you get these days (from dimmers, Telly's, PCs, switch mode power supplies etc). In practical terms this means line your cavities with copper foil, and if possible line the drilled holes between cavities (its tricky). You could pass a bit of braided cable screen through the holes and expand it to fit, and then solder it to the copper screen at both ends if you wanted. Then bring your incoming earth on your jack socket to the copper screen, and take any screened metal parts (eg back of pots) to the copper screen as well, with short bits of wire. As people have said above, you then need to keep your signal common separate from the screen earth, except where you connect onto the jack socket. Ideally you'd keep the screen earth and signal 'earth' separate all the way back to (and inside) the amp, but the ubiquitous use of coax cable for instruments generally prevents this. *Obviously when I say 'everything' I mean everything that isn't part of the signal path or 'live'.