Count Bassy

[quote name='mcgraham' post='528681' date='Jun 30 2009, 03:08 PM']Also, second hand instruments have been vetted by someone already. Thus, the bad ones get weeded out, and the good ones survive (or don't get sold).[/quote] But then why is it being sold? someone has vetted it and rejected it! Having said that I agree with everything else you say, and 4 out of 5 of my basses were second hand, and the fifth I built myself.

[quote name='Rich' post='526046' date='Jun 27 2009, 04:21 PM']Yes, I've heard him come up with that before. He seems to be arguing that there's no point in learning something unless you're going to get paid for it. Now call me a radical, but what's so wrong with playing or learning stuff for the [i]enjoyment[/i] of it? If getting paid was the be all and end all, I'd never get to play a note.[/quote] That's not how I read what he said. I read it to mean that, impressive as the 'advanced techniques' are, they are not a very big part of what people want a bass player to do.

Small petrol generators are pretty cheap and very quite these days. Having said that you still wouldn't want it in the garage with you, kicking out all that CO!

[quote name='Josh' post='519243' date='Jun 20 2009, 12:58 PM']You are seriously limiting your technique by not utilizing the advantage of using all 4 fingers when playing, you may find it a hindrance but it is almost etiquette to use all four fingers on the fretting hand.[/quote] Does that also go for plucking hand ?. Seems to me that most people use just two fingers on the plucking hand, but that doesn't get derided. Peronally I used all five digits on the plucking hand and the 4 fingers on the fretting hand ( may hand is not big enough for the thumb to come round teh top, even if I wanted it to).

Mine, That I've had a bass since I was 18 and have only really started playing it in the last 3 years (I'm now 52). Had I taken it seriously then then I would undoubtedly be a better player than I am, and would have done far more with it (not saying that I'd ever have made money out of it). Having said that I have been playing melodeon for 35 years as well (again not pro), but it's certainly made life interseting.

WD40 will loosen a lot of grime, and is prtty benign (ie unlikely to affect any laquer/varnish). Or try IPA (Iso Propyl Alcohol) Or try the orange oil based label remover stuff. You could try lemon oil, as sold for fret boards, as this will also lift a lot of grime, but its expensive compared to the above three. But as they always say - 'test on an unobtrusive area first'

[quote name='Rich44' post='513226' date='Jun 14 2009, 12:02 PM']Well low and behold, just check it and the E string windings are coming off at the nut end and a little bit at the bridge! You psychic much?! Should I just try to trim these now? Can't afford new strings at the mo.[/quote] I was lucky as I had it on a brand new string so got it replaced free of charge. You'd have nothing to loose by trimming off the loose ends (as long as they haven't reached the playing length) Possibly a touch of super glue on it to stop it unravelling further? I really don't know if this will work, but you've probably got nothing to lose in trying. Let us know how you get on.

To go against the grain of the thread - I've had a GWB35 for about a year and, after dithering for along time, have just taken the ramp off (hardly dramatic - it's only 4 screws). Wish I'd done it ages ago - suits my style far better without !!

Thanks MD. Anyone else got anything to suggest?

[quote name='Rich44' post='513007' date='Jun 13 2009, 09:37 PM']Nope, its a passive I'm afraid.[/quote] Check at the ends, especially at the bridge end (ie between the anchor and the saddle), to see if any of the windings have unravelled and are touching the bridge. I had this once and it gave an effect very like you describe.

I have a Fender Urge Mk1 (32" scale) with the two jazz pick ups and a P pickup between them. Generally I'm very happy with it, but have always found that the sound of the P Pickup is very similar to the sound of the two Jazzes blended together, and as such it seems a bit of a waste. (perhaps Stu Hamm's ear is more sensitive than mine). For those who don't know the instrument it has a small body (smaller than a strat) and thinnish neck, with generally a bright tone - in fact I've already gone to ground wounds in order to dull the tone down a bit. Anyway, I've now decided to do something about it, to try and get a more useful range of tones. I have spoken to Andy at Wizard (who is not familiar with the instrument), and we sort of concluded that a sensible thing to try would be to try a Thumper in place of the standard P pick up and leave the jazzes as they are. He also pointed out that part of the problem could be that the P, being between the two Js, is probably closer to the bridge than it would be ideally. However, this is all conjecture, I've not a great experience of different pick ups, and have never heard a Thumper in the flesh, and would it sound the same on this small bodied bass anyway? Having said that, I suspect that what I want is for the P pickup to sound more like a precision bass, even though it is not on a precision bass body/neck. So, I'm really after opinions on what I should try, especially if anyone out there has had the same 'problem' with an Urge and has done something about it. I don't really want to change the bass as I love it in all other respects. The cost of a Thumper isn't a problem if it gives me what I want, but I don't want to buy that only to decide that really I wanted to change the Jazz pick ups! Thanks in advance for your thoughts.

Easy enough to make surely?

[quote name='Stylon Pilson' post='509239' date='Jun 9 2009, 04:51 PM']Or swap the jack plate on the back of your speaker cabinet for a speakon. S.P.[/quote] +1. Despite being used as such for years Jack plugs are really not suitable for speaker connections. The have exposed contacts which means that a loose cable end can easily short out against any metal object. Speakons are far better bet since the contacts on both the plugs and sockets are finger/touch proof, they lock into place, and there is no chance of confusing them with instrument leads.

[quote name='alexclaber' post='497926' date='May 26 2009, 12:42 PM']No, it totally depends on the individual components. Some valve preamps sound amazing and valvey, some sound amazing but not in a valvey way, and some sound mediocre. Just like generalising on tone based on speaker diameter leads you to often incorrect conclusions, so does generalising based on amp topology. Alex[/quote] Ah, the thread has come back to life. Alex, When I wrote what I thought was a concluding summary (as the thread seemed to have dried up) what I said seemed to be the overriding view of the posts up to that point. I wasn't expressing my own opinion as I don't have one - hence the questions in the original post! Since my premature summary the weight of opinion seems to be going back towards yes the valve should make a difference but it depends on the valve (and other factors). I believe that the valve in the Marshall B150 is a 12AX7. Assuming that it's still the original valve can anyone suggest an alternative valve to try, something that might make the difference between the valve and the SS pre-amps a bit more noticable/useful. I get the impression from the above that the difference is most noticable when going into distortion, is this correct? Thanks again for your thoughts folks.

The problem I see is that without the weight of a bass behind it the whole thing would move when you tried to pluck it, especially when, as in the picture, trying to play it while it's swinging on a piece of string.

Just so that people don't think there's anything dodgy going on I am announcing that I have changed my user name to 'Count Bassy' Someone recently pointed out to me that anyone googling the band name and my real name name gets to the thread I started about sacking the drummer, and I don't really want anyone googling the band (as if - except perhaps the ex drummer) to stumble upon that thread. The Count - formerly known as Clive Thorne

Well, after a few delays I received the samples from Neutrik - a couple of straights and a couple of right angled. The straight one they sent has a rubber coated body (don't know if the non rubberised one is still available), but the right angle one looks identical to the older version. However the sleeve mechanism on both, despite looking the same as before, is a noticably looser fit and has a weaker spring, which will help with the reported problem (not seen it myself) of them self ejecting. More importantly, I've tried bending the plugs sidways and always, and have not been able to get a sleeve to stick, so it would seem that that particular problem has been resolved. Hooray!

[quote name='Mr.T' post='484829' date='May 11 2009, 09:30 AM'](I wouldn't even consider using wire wool).[/quote] Out of interest, why not? I've had great results with it, though admitedly I've never actually used it on a guitar.

Seems like I'll not be getting the reasoned response to my last posting on the tuner thread that I was hoping for. Ah well, probably for the best. Mods, I think you did the right thing to close the other one downs - better do the same to this one!

We want to put some snippets of our band on our website, but we currently only do covers. What is the legal sitaution with this? Are we allowed a certain length without paying anything? Do we pay the PRS or what.? What about songs that might be out of copyright - how do we find out if they are - What is the length of copyright these days? Thanks in advance

Whoah, tons happened while I was typing out my reply to RSLaing's reply to my post. But, RS laing, you quote: [quote name='rslaing' post='496930' date='May 24 2009, 11:36 PM']From the Peterson site:- We can purposely shift certain scale notes closer to or farther from their neighbors to make perfect intervals or chords in some places. If we choose wisely, we can make the most important chords in a given key be the perfect ones. [b]This is the concept behind Just Intonation (JST in the Temperament Menu of Peterson tuners).[/b] In the key of C, the chords of C major, F major, and G major can each have perfectly harmonious tuning intervals. Unfortunately, other chords, especially those in more remote keys like C# and F#, sound much worse than they would in equal temperament. If an instrument like a piano is tuned in Just Major temperament for the key of C, notes and chords that fall in the C Major scale sound wonderful. Modulating to the key of G, most chords sound good, some not quite as good. If one takes a more adventurous trek into the key of E, say, some real "ear-sores" start to develop in certain chords and intervals. Historically, the clinkers are dubbed "wolf tones" which gives some indication of their "charm". If you can disprove this, sue them.[/quote] If you have read this than you will see that even they say that Just temperament makes common chords in some keys sound nicer - but that chords in other keys sound worse. If your singer says 'can we take it up a semi tone', or (I imagine) if your playing jazz, then you're fcuked. Even if they could acheive perfect Just intonation then it only works for a limited number of chords. As i said in my previous post, Just tuning is itself a compromise, in the same way that equal temperament is. Edited - and of course any temperament depends on all the other instruments also being in that temperament. I would want to wait between songs while the piano is retuned.

[quote name='rslaing' post='496891' date='May 24 2009, 10:39 PM'][/quote] ""The peterson probably can help with equal temperament stuff by using compensated tunings, but this is more to do with features than accuracy. Also, even with funny tunings and intonations this can only help hide the problems caused by equal temperament frets. It cannot make an equal temperament fretboard produce, for example, a just temperament scale. [b]OH YES IT CAN. READ THE MANUAL ONLINE[/b]" [i]As DLloyd has also said, this would involve moving frets around. Yes a compensated tuning can help, but it cannot make it perfect. Even if it could achieve perfect Just tuning, Just tuning is itself a still compromise. [/i] "The only way to do this is by bending each note to the right pitch, which you are then reckognising by ear, so the accuracy of the tuner is rather wasted. [b]RUBBISH! imho[/b]" [i]Compensating tunings can help, but bending each not is the only way that you can make an equally tempered fretboard play each note in the scale play spot on. You are then under human control rather than tuner control[/i] "Fretting harder than you normally do could be down to bad technique. [b]CORRECT[/b]" [i]Why, thank you.[/i] "Plucking harder and softer is a necessary part of playing - unless you play all your notes at the same volume - which would be rather boring. [b]SOUNDS LIKE AN EXCUSE TO ME[/b]" [i]So you are saying that you play all your notes at the same volume. Fair enough, but have you heard the expression 'Dynamics'?[/i] "Not pressing the string completely normal to the keyboard might be bad technique, but I'm sure every one does it ocassionally. [b]REALLY?[/b]" [i]Yes. Really![/i] "Strings going out of tune with temperature is nothing to do with technique, more physics. [b]BUY AN INSTRUMENT WITH A GRAPHITE NECK - LESSER CHANCE [/b]" [i]I'm curious as to what you strings are made of. Mine are made of metal and thus expand when warm, reducing the tension, and thus flattening the note. and, conversly, go sharp when the get colder.[/i] "Strings going flat when you fret two strings is nothing to do with technique (unless your technique means only ever playing one note at a time)[b]BOLLOCKS[/b]" [i]When you fret two strings then there is an increase in tension in those two stings that will cause the neck to pull forward, and hence flatten the notes slightly. Of course this is imperceptibe to the human ear, but then that is what we're talking about with the accuracy of the petersen and turbo tuners. I'm afraid that just replying 'Bollocks' does not help your cedibilty.[/i] "Intonation will not be accurate at all frets - nothing to do with technique. Compensating tunings help - but do not solve the problem. [b]YES THEY DO. I have a strobe tuner that has proved this to be the case - have you?[/b]" [i]No, but the frets are set up mathematically according to an equal temperament scale. Compensating tunings etc can help in the overal apearance of in tuneness, but cannot make it perfect.[/i] "I'm not saying, and never said, that the cheaper tuners are more accurate than the peterson or the turbo thingamy, but that in 99% of cases they are quite accurate enough. [b]NOT IN MY EXPERIENCE, NOR THE PROFESSIONALS I HAVE WORKED WITH - and I wouldn't want a pro luthier to set up any of my expensive instruments with el crappo £20 tuner[/b]" [i]But setting up of guitars probably constitutes less than 1% of total tuner usage, which is why I said 99% and not 100%.[/i] "In most real situations there are many features of a tuner that are more important than accuracy. For stage use I'd be looking at robustess, readabilty for 2 metres away on a dark stage, Speed of response, abilty to pick up the fundamental and, if its a stomp box style, the ability to mute the output while the tuner is active. etc etc. [b]ALL OF WHICH APPLIES TO THE PETERSON STROBOSTOMP[/b]" [i]I'm very pleased to hear it. It also applies to many perfectly adequate tuners that cost much less.[/i] "If accuracy and compensating tunings is what you want (as per the original posting) then go for the turbo thingamy jig (apparently more accurate than a Peterson), but in most cases a much cheaper device will be perfectly adequate."[/i] AYE..IF YOU HAVE DEFICIENT TONAL HEARING DISABILITY." [i]Now you're just getting personal and rude. Perhaps you've been drinking and will be good enough to apologise once you've sobered up?[/i] "go for the turbo thingamy jig"[/i] Great advice.but the Peterson still has more advantageous features.......[/b] [b]It would be great, instead of hearing from people with unproved theories but with a great propensity for ridicule, to read experiences from people who actually own a Peterson strobe tuner[/b]." [i]Seems to me that You are the one with the propensity to ridicule here. Most people here are offering reasonable points of view and making reasonable points. If you only want to hear from people with a Peterson tuner it would seem that you only want to hear from people who might agree with you. Sounds to me like you realise that your argument is a bit thin.[/i] By the way, did you realise that typing everything in capitals is considered to be shouting, and as being very rude. Anticipating your reasoned, and non shouted, reply.

So to summarise, the general feeling is that valve pre-amp into SS power stage is a waste of time (I guess that must go for the valve powered effects units as well then). So if I'm sticking with SS amps then I'd be better off looking for a good flexible equalisation section. Thanks for your thoughts.

[quote name='rslaing' post='496645' date='May 24 2009, 03:41 PM']You should have read the previous posts. The Peterson combats a lot of the points you have made, including problems with equal temperament on fretted instruments. The others points you have made are down to bad technique - so I suppose a Strobe tuner will definitely not help with that. A lot of the criticism here is coming from people who haven't got a strobe tuner, so logically their comments can be disregarded. They also haven't got a clue about the various benefits as they assume it is just a more accurate tuner - it isn't. It actually adjusts the tuning of the guitar (basically making it "out of tune" with itself) but making it more in tune aurally. But I can see there is no point in attempting to explain this judging by the reactions of the tone deaf amongst us. I suggest people try one (it takes a few weeks to get the old tuner mentality out of the way, and actually learn how to use the strobe to it's greatest efect) and then give a more accurate appraisal instead of just giving reasons why they "think/assume" a cheapo pile of crap tuner could do the same job.[/quote] The peterson probably can help with equal temperament stuff by using compensated tunings, but this is more to do with features than accuracy. Also, even with funny tunings and intonations this can only help hide the problems caused by equal temperament frets. It cannot make an equal temperament fretboard produce, for example, a just temperament scale. The only way to do this is by bending each note to the right pitch, which you are then reckognising by ear, so the accuracy of the tuner is rather wasted. Fretting harder than you normally do could be down to bad technique. Plucking harder and softer is a necessary part of playing - unless you play all your notes at the same volume - which would be rather boring. Not pressing the string completely normal to the keyboard might be bad technique, but I'm sure every one does it ocassionally. Strings going out of tune with temperature is nothing to do with technique, more physics. Strings going flat when you fret two strings is nothing to do with technique (unless your technique means only ever playing one note at a time) Intonation will not be accurate at all frets - nothing to do with technique. Compensating tunings help - but do not solve the problem. I'm not saying, and never said, that the cheaper tuners are more accurate than the peterson or the turbo thingamy, but that in 99% of cases they are quite accurate enough. In most real situations there are many features of a tuner that are more important than accuracy. For stage use I'd be looking at robustess, readabilty for 2 metres away on a dark stage, Speed of response, abilty to pick up the fundamental and, if its a stomp box style, the ability to mute the output while the tuner is active. etc etc. If accuracy and compensating tunings is what you want (as per the original posting) then go for the turbo thingamy jig (apparently more accurate than a Peterson), but in most cases a much cheaper device will be perfectly adequate.

[quote name='OldGit' post='496663' date='May 24 2009, 04:29 PM']There IS a smiley there, Clive [/quote] Fair point OG. and to be fair I've often said myself that 'work would be great if it weren't for the ******* customers"!