risingson

[quote name='Fionn' timestamp='1380403875' post='2224960'] Stuart Zender, mostly. When I first heard Jamiroquai, way back in 1993, I couldn't believe my ears. It was the music that I'd waited my entire young (at the time) life for. I was really captivated by the bass particularly. There was/ is something about early jamiroquai and Zenders playing which simply locks into my soul. I wanted to express some of that groove that I was feeling ... So, I went out and bought a bass. More than any other player that I can think of, Zender has left the strongest stylistic influence on my playing. [/quote] Zender I definitely credit for keeping me playing as a young lad. I learnt those first three Jamiroquai albums back to back, note for note!

[quote name='BigRedX' timestamp='1380455036' post='2225424'] [url="http://www.vintagehofner.co.uk/hofner/basses/bas12.html"]And here's an even older single cut bass from 1957[/url] [/quote] But that's just an adaptation of an existing guitar design adopted as a bass design, without wishing to put words in the OP's mouth I think he's referring to more modern designs by Fodera, Sei, Nordstrand and many other brands that use singlecut designs more like this one? [url="http://www.nordstrandguitars.com/assets/images/gallery/JayLewis/amboyna2.jpg"]amboyna2.jpg[/url] I'm not a fan of the looks personally and am fairly ignorant to the reasons why a bass might be designed like this but I don't see a problem with diversity in bass design, everyone likes different things in my experience. [quote name='Lowender' timestamp='1380389918' post='2224693'] It's just seems dumb and dumb ideas tend not to last. I guess if you're obsessed with balance and structure and never play beyond the 12th fret it may have appeal, but there's also the dorkiness factor to consider. [/quote] The only reason I can see a singlecut limiting playing above the 12th fret is if you have some interesting and naff left hand technique going on. Realistically it shouldn't be a problem!

[quote name='Coilte' timestamp='1380186419' post='2221905'] if you had done some research [/quote] I'd played TI's before and remember enjoying them more than I did (mentioned this in the OP, basically the second sentence). Research not required. It's fine, I amended the situation by stringing my P up with La Bella 760FL's which sound a thousand times better.

James Jamerson, Pino Palladino (fretted) and Anthony Jackson are top. Carol Kaye, Joe Osborn, Paul McCartney, Willie Weeks, John Paul Jones I kind of group together as massive influences too. More modern guys I like are Adam Blackstone, Sharay Reed and Tim Lefebvre.

I wouldn't actively relic an instrument unless it actively relic'ed itself by me dropping it down a flight of concrete steps accidentally. But I love wear and tear on old basses, instruments with history are far cooler than stuff rolling off the production line looking brand spanking new, probably only really relevant to Fender, Gibson, Musicman etc.

Damn good indeed, it's very obvious listening to him just how much Jaco took from him.

[quote name='olliedf89' timestamp='1380231920' post='2222733'] But of course, sir. My favourite thing NIN has ever done is the Still EP. Also known as And All That Could Have Been Disc 2. Basically, if u want electronic pop stuff go Pretty Hate Machine. Aggression and industrial go to Broken and Downward Spiral. All out genius, ambient and aggressive The Fragile, With Teeth is more rocky and live orientated with Mr Dave grohl on drums. Probably my favourite. Year Zero is crazy heavy electronic synthy industrial. Absolutely nuts but not the strongest, same with The Slip and Ghosts for me. Hesitation Marks is the new one and is mostly electronic beats and synth orientated but still has some outstanding moments. I would start with The Downward Spiral and The Fragile followed by With Teeth. Haha hope that helps! [/quote] Lovely, cheers for that. I'm actually a big Telefon Tel Aviv fan so logically I should enjoy NIN what with Josh Eustis joining them recently.

Embarrassingly I know little about NIN beyond that my old guitarist was a fanatic about them. Anyone want to point me in the direction of the right place to star with Mr. Reznor? Pino's bass playing in that clip sums up everything I love about bass.

[quote name='xilddx' timestamp='1379947494' post='2218562'] Boards of Canada. It sounds like Clement Freud doing the Magic Roundabout theme. f***ing depressing. [/quote] Heathen!!

Really liked Disclosure's album, very good for two young lads their age. Unknown Mortal Orchestra's 'II' is also excellent. [quote name='Lasermonkey' timestamp='1379896719' post='2218056'] For me, the clear winner is Tomorrow's Harvest by Boards of Canada. Absolutely love it to bits, [/quote] And this . My obsession with Boards of Canada lives on.

Daft Punk for me as well. Everything that made Daft Punk great diluted and misappropriated, the glory days of Homework and Discovery are long gone and one of my favourite electronic acts didn't deliver, largely for me because they used live musicians. Although words like 'melancholic' and 'minimal' have never been words I would ever associate with Daft Punk, basically the opposite in fact.

If the construction of the Rockbass is the same as when I had one about 10 years ago then the construction of the Korean stuff is far, far better.

[quote name='Gust0o' timestamp='1379582494' post='2214343'] Crikey, HH? Am now fully sold. [/quote] I must say I'm looking interested now too. I'm thinking natural 5 string dual pup!

Pick playing is one of the most widely misunderstood and underestimated means of playing a bass. It requires a completely different skillset and a lot more concentration to play dynamically. I would probably say it's the least researched means of playing the instrument insofar as only a handful of people have pushed pick playing to its limits. Like this man [media]http://www.youtube.com/watch?v=1rxYw7Y45Eo[/media]

I've largely been a passive bass guy but I do like both. Onboard preamps can be really hit or miss for me, which means I have to be careful going about picking active instruments. I hate sterile sounding preamps (pickups too) and like to be able to hear a bit of the tonal character as well as the actives working, kind of like a subtle mix. In short actives for me have to be musical. I also find an onboard mid control dialled in at the right frequency range to be really handy when I need it.

It sounds pretty MM to my ears, really nice playing too. I know his original Jazz had a Star preamp fitted by Roger Sadowsky, I guess an onboard preamp close to something like that would go some way to helping you out nailing the sound.

[quote name='BassTractor' timestamp='1379506995' post='2213446'] OK, then let's get this down to your level: TC say and sell it as m watts, when it isnt, its f watts run through a multiband limiter/(other assorted shenanigans) Glad to be of help. [/quote] Glad you could bring it down to 'my level', appreciated. My post was a little tongue in cheek, but beyond the sound and functionality of the amp I have no personal problem with the TC power ratings. I was aware of how the ratings worked before I purchased the amp in the first place.

[quote name='51m0n' timestamp='1379495155' post='2213238'] Nah TC say and sell it as n watts, when it isnt, its g watts run through a multiband limiter/(other assorted shenanigans) rather like a simple digital mastering cover all solution, in order to get a higher average level to peak ratio (think radio station broadcast limiter). The amp runs harder than a real n watt amp to achieve the same level as an n watt amp (by which I mean in achieving that same level the amp is running closer to its theoretical maximum more of the time - just look at the graphs in the pdf). Which may or may not worry you. It also means the transients are very definitely curtailed, and that is something you may be able to feel. I can honestly say the TC stack sounds really loud, possibly louder than my rig in fact, but I prefer the sound and feel of my rig (I had a day with my rig sat next to Charics - IIRC - at a previous bass bash, so this is a personal subjective impression of the two rigs suide by side for an extended period of time). I have no problem with that approach from an engineering point of view, if they said thats what they did, but in their initial push to market (anyone remember their bass 2.0 ads?) they kept this all very quiet. Any kind of limiting or compression is a form of distortion of the signal, and to claim they have 500, 1000, 1700 watts of [i]clean[/i] usable power is frankly a lie. Whether this is a negative thing is entirely up to you of course [/quote] All of which is totally over my head I'm afraid i don't deny that TC have fibbed, my point really being that I just don't care as the sound I get from the amp has always been great, noticeably so than a lot of other stuff I have used. Having said that I would like a TH500 right now with the new Berg CN212. Great sounding rig and the only thing I'd consider swapping out for right now.

[quote name='dmccombe7' timestamp='1379452833' post='2212972'] That made for some interesting reading - thanks wateroftyne. Always amazes me how mfr twist their statements to make their gear look better than it sometimes is. Cheers Dave [/quote] TC stretch their statistics concerning wattage but I've actually never encountered a problem being heard with my RH750 head. I don't really understand these things too well either but it's as much about the assumption by others that watts = overall level as well as TC pulling the wool over the eyes a bit. TC stuff is largely complete quality in my experience.

[quote name='charic' timestamp='1379316245' post='2211052'] [/size] Two handed tapping would have been my approach if I couldn't match the tempo with the octave jump. Makes perfect sense [/quote] It depends on the context and I would say the majority of the time, tapping is absolutely not the way to approach lines like this one. It's actually making me shudder a bit! It's a case of grabbing a metronome, slowing things right down and gradually speeding things up until it becomes unmanageable again, at which stage drop the tempo back and repeat. There isn't a quick way to get round straight forward, good old fashioned practice and stuff doesn't happen overnight! EDIT - just grabbed my bass to see how I do it, index finger on the lower note, index + middle on the octave.

My old Lakland Darryl Jones had one of the slimmest neck profiles I've used. My preference is for something a bit chunkier nowadays though!

Looks like the kind of instrument almost completely unusable for most things I do. And I absolutely love it, badly want one!

I'd have no problem with the scenario you've described as a buyer, providing there had been excellent communication between both parties, which is usually where the problems start with stuff like this.