TimR

Superb. The studio version is on my iPod. Although they play it live there I'm sure it must be sampled on the original recording and I've always wondered where the line is sampled from.

[quote name='Jean-Luc Pickguard' post='810325' date='Apr 18 2010, 02:15 PM']How many logos do they need onstage? Just one on the bassdrum or one cab would be enough. Any more looks like you're trying too hard. Less is more! He'll be getting his auntie to make band uniforms next - fell him to feck off.[/quote] +1 It looks really cheesy and takes the focus away from what is actually happening on stage. We had covers for the PA speakers. Some material that had black elastic straps that just strapped round the speakers. Then they wanted music stand covers and band t-shirts and backdrop and .......

A member PMd me asking me more. I've got it out and taken some piuctures. Its a Japanese B2 from 1986, the colour is supposed to be 'cream' but its a bit yellow now and has more dings that I remembered.

Humans are visual creatures. We consume with our eyes. Food, sex, basses. Everyone has their own tastes, if we don't like the look of something we won't consume it. There was a thread recently on a custom bass £5k+. No one had even heard it and they were all knocking it for its looks, even the price tag was steep and raised a few eyebrows, but had it been more traditionally shaped everyone would have wanted to hear it/play it before making judgement. As Bilbo says, the problem is that the image we try to portray doesn't always come across to the people we are trying to portray it to. Even if the image is that I don't care what you think about me. In the words of the song - If you chose not to decide, you still have made a choice.

You sound like a whiny twat who needs to get off his arse more. Why did you make mistakes. I generally make them for one reason only - complacency. I expect you know the tunes inside out and don't need to practice them, you got on stage and your mind wandered and you forgot to concentrate on the playing. You shouldn't need to concentrate on having a good time, that should just happen when you are confident in what you play.

I have played in pubs where a six inch oak beam on the ceiling has literally stopped ALL the sound from coming into the rest of the pub. On the side the band was playing it was deafening and there were horrendous feedback problems, on the other side of the beam the band could have been playing in the pub down the road. Its complex and there are no rules of thumb, you just have to experiment and learn. What works in one situation doesn't work in all.

You'll do fine if you remember. Bass is not just low frequency, most of what you hear and what goes up to make the character of your tone is middle and high frequency. The higher the frequency the more directional it is and the narrower the 'beam' of sound from your speaker is. To hear the proper tone you need to be in this 'beam'. Either by standing away from your cab, or by pointing your cab up towards your ears if this is not possible. Low frequencies (bass) are less directional and have less energy and are easily absorbed. High frequencies (treble) are more directional and bounce off hard surfaces, but are absorbed by soft surfaces, sofas, curtains, people. Sound can form constructive or destructive waves, ie when the waves bounce off the wall; the waves going towards and the waves bouncing off can either add together or subtract from each other. How they do this is complex and its not necessary to understand exactly how, just that it does happen. Where they add together it is louder and where they subtract it is quieter. This is dependent on frequency and distance so in some places the bass will be loud while the treble is quiet and vice versa. Some points in the room will become sweet spots where it sounds perfect. Some notes you play will sound dead, others will ring on forever. Changing the direction and position of cabs affects this. Move the cab around, but always try to get its back as close to a wall as possible. Sound waves will also reflect off the floor and the ceiling as well as any walls. As was said above to increase the bass more put the cab in the corner. If this makes it too boomy move it away from the corner, but keep it against the wall. Angle it if necessary. Other instruments can mask the tone of the bass and the bass can mask the tone of other instruments. You need to work with the guitars to decide what overall tone you want from the band rather than the guitarists wanting a guitar tone and you wanting a bass tone. That's the most difficult part to work out.

[quote name='51m0n' post='757500' date='Feb 25 2010, 07:54 PM']... If you put your amp ANYWHERE in the room the bass frequencies (and all the rest) will reflect back and forth off all walls. Bass frequencies are omidirectional, ie they propogate evenly from the source in all directions. They are tricky blighters like that! Mids and above are directional. ...[/quote] That's not quite true. As you move the cab (source) around, the nodes of the standing waves will move too. If you put it against the wall you will cut down on the chances that the waves coming from the wall behind are out of phase with the long (low frequency waves) coming from the speaker. Moving the cab around has a big effect. Putting it in the corner should reduce the number of nodes, but this is depedent of frequency and room size. The highs and mids are directional but they will also spread out (in a cone shape) depending on the cab and speaker design. Usual figures are around 30 degrees. Angling the cab out from the corner will also mean that those frequencies go directly into the room and don't get bounced of the walls (you may or may not want this, you have to experiment). Standing about 10ft in front of your cab (1x15,2x10,4x10) will mean that the waves have spread out high enough to reach your ears.

If you have your amp flat against a wall in a small room the bass frequencies from your speaker will reflect back off the opposite wall and the wall behind and cancel the ones coming directly from your speaker. Put your amp in the corner and try different angles. If you are still struggling then the guitarists need to cut their bass.

[quote name='silddx' post='755451' date='Feb 23 2010, 08:37 PM']I'm sorry mate, but you are drawing the wrong conclusions based on a very simplistic analysis. The marketing surrounding the brands of transport you mention are many and varied, depending on model. Simply put, the more expensive models are marketed by selling a lifestyle, the more practical (like the Cayenne) by selling prestige and luxurious practicality, and the "budget" models, if you can call them that, by brand leverage focusing on aspiration. The GUS is none of those, it is simply a very expensive product because of very expensive production processes, and the result is meant for musicians who want supreme design and quality, and who happen to have the money and may want to demonstrate that via a unique appearance. You think the chrome saveloys are there for anything other than brand identity? They have no practical use whatsover. It's the Fabergé egg of the bass world.[/quote] Ultimately supply and demand set the price. If the demand is not there at that price and the price cannot drop then the item will not sell.

[quote name='Clarky' post='755384' date='Feb 23 2010, 07:54 PM']Doesn't matter what grounds I had to buy, I was merely pointing out that its a fallacy that you cannot commute on a Harley as they are actually very practical (well the Sportster definitely was). I really am not sure what your point is. Harleys are nice bikes, they are iconic, they are objects of desire, last forever if treated right (and not nicked like mine were) ..... And?????.[/quote] Because we consume with our eyes. Regardless of whether something is best fit. Look at the adverts for Porsches, Lamborghini and Harley verses those for any hot hatch. Do they figure commuters or women getting loads of shopping in the boot? No. Harley don't make commuter bikes, doesn't mean you can't commute on one though. Watch the marketing for this bass. Lets see how quickly the price drops. Advertise it for £5k+ in loads of mags, put it in the shops while everyone lusts over one then drop the price £2k and watch the rush for a bargain. Cynical? Who me? If they've done their market research, there are people out there who like them. If they haven't does it matter? Are they built to order? If they don't mass produce them there will hardly be loads sitting in a warehouse somehere.

[quote name='Clarky' post='755303' date='Feb 23 2010, 06:43 PM']Erm, I commuted to work in London on a Harley for years (a Sportster to begin with, later a Fat Boy). Very reliable, massive torque, low seats (so easy to clamber on in a business suit), looked wicked (the Harley, not the suit).[/quote] So, did you buy a Harley because it was a cheap bike, economical, you could nip in and out of the traffic, drive it in all weathers and it wouldn't matter if it got covered in road salt or if you scratched it when you got knocked off, or because it looked wicked and was a head turner. People from all walks of life ride Harleys? Do you see many people turning up at the dole office riding them? Do you see many couriers riding them? I put 'rich' in inverted commas to reflect that again its a relative term. All I am saying is that it is the hobby musician with income independent of music that subsidises all of these things, Guitars, effects units, boutique amps etc. If the company making these bases makes a loss on them, and you have to hope they've done some sort of market research, I will be very surprised.

[quote name='silddx' post='754897' date='Feb 23 2010, 12:37 PM'] I was talking about [b]inspiration [/b]not getting a good deal. Even so, I am not at all clear on the point you are trying to make.[/quote] Your OP was how can you justify spending £5350 on a new bass? If I know that there is a second hand market then I'm not spending £5K+, I'm spending £5k - resale value. If there was no second hand market then the prices would have to be much lower, but there will always be people who are prepared to spend more for a new bass with warranty etc. You could buy a £5k bass, do 30 £100 gigs with it. Sell it for £2k and will have broken even, and had good use out of an expensive bass and someone would have a top expensive bass for less than half price. Put your own numbers in and see if you can justify it. BUT this only works if you are a hobby musician with a job supporting your hobby. Hobby musicians who want the lastet gear (people with GAS) are what the industry relies on. Someone posted about Harleys earlier, same thing, they don't make bikes for cummuters, they make bikes for 'rich' people to play with. By 'rich' I mean anyone who has the ability to save enough to buy one.

[quote name='silddx' post='754476' date='Feb 22 2010, 10:28 PM']... In my case, it was inspiration that made me up my game and get a Warwick, I needed something reliable, ergonomically designed and versatile. I did my research, bought one second hand and it remains, most of the time, my number one bass. ...[/quote] So you got a good deal. Someone had to originally buy it new. Not you as you couldn't afford it, but someone did, decidided to move on or up and sell their old one. The guys who designed and built that bass have to eat, feed their kids, drive cars, and live in houses. How much was the first fender in relation to a weeks money. Many people sitting in the building where I work get £5000 a day! They're not proffesional musicians though, but they are the sort of people who are subsidising the rest of us and giving us the ability to buy second hand high end models at a good price.

I guess research and build costs have pushed the price up, especially if they've recognised that they will have limited appeal and they'll only sell a limited number. Give it a couple of years and if they are still making them the price will drop. There are people around who would be happy owning and playing them just because it grabs attention just like headless basses did in the 80's, and still do to a certain extent. £5k on it might be worth it if its going to become a collectors item. Buy one and store it, especially if it has a serial number in the low 100s. There are plenty of people who do that.

[quote name='Bloodaxe' post='751512' date='Feb 20 2010, 12:39 AM']Get a fretless & there are notes between the notes...[/quote] Or the Geddy Lee Jazz which has notes within notes.

[quote name='ThomBassmonkey' post='745322' date='Feb 14 2010, 09:44 PM']Something I've never been able to work out, are the dommies guitar or bass amps? I have a mkIII I'm trying to flog and I've always used it as a guitar amp, but I've wondered if they started off life as a bass amp and went through the same transition as some Fenders. It's cool looking back over the gear from yesteryear. Lots of people seem to be starting out on Peaveys and Carlsbros. I'm sure people talking in a similar thread in 20 years would all be talking about their old Ashdowns they wished they never sold hehe.[/quote] And not suprisingly mainly 100w 15" combos.

At least you can take comfort in that it probably didn't take you a year to get to the standard that you were happy gigging. It just took a year for them to get a gig that the other bass player couldn't do.

As Jenifer says Rushing is speeding up so the song gets faster at the end than it started, although as I say often this will happen just over one phrase and settle down again. Maybe Drawing is an American term, in the UK we'd call it dragging and again it's slowing the whole tune down and can happen over the whole song or just one passage. Maybe as the drummer gets tired. Playing ahead of the beat but with constant tempo drives the song. Listen to 'Crazy Little thing called Love' by Queen and note how the drums, bass and Vocals are ahead the Guitar is playing on the beat. We've tried to play it but the singer and drummer couldn't get the feel and it sounded like a bad Elvis cover.

Rushing and dragging are not the same as playing in front of and behind the beat. Rushing happens when the musician gets to a hard quick phrase and tries to jam it all in too quickly rather than taking their time over it. Dragging is more likely to happen when the phrase is hard rhythm wise and the player struggles to get it or is not listening to the rest of the band.

[quote name='ped' post='738510' date='Feb 7 2010, 09:41 PM']OK Tim, here is a square crop, and to satisfy Rasta's request for a black and white image I put it to greyscale too. ped[/quote] Nice crop, you have a better eye than I do. I like the colour though the light green and brown are really complimentary. Anyway - Avatar?

I know of at least 3 rehearsal rooms who have storage space. You only pay a nominal monthly fee think it was £5 a few years back. They make their money because they know you will rehearse there. Just need to work on a bit of logistics when you have a gig and need to pick up gear and return gear.

I would crop that shot square. Taking off the top 4 visible frets and half of the bottom chair cushion.

I find that when I struggle to get the tone I want from my bass its usually time to change the strings. Its not possible to AB strings to see if they are dead yet, they just slowly die and that creeps up on you, all of a sudden you're playing one day and you just think "I need some new gear this just sounds so awful".