risingson

If a 5 string comes out I'm on this like white on rice.

That sea foam green '63 is mind blowingly beautiful!

[quote name='Billy Apple' timestamp='1350430377' post='1838939'] This original text?.... [color=#666666][font=verdana, arial, sans-serif][size=3]Old Fender P Bass, Natural Finish, Looks Like A 1962 But Without Thumb Rest Or Ashtray Bridge Cover. Been Inspected By Local Fender Retailer And Confirmed As 1970's. Truss Rod Needs Adjustment As Action Is High But I Can Do This For You. Personally I Would Change The Strings And Have A Proper Set Up Done As This Was Stored For Years. Electrics Work Fine And Plays Well As I Used This At A Gig Last Week. [/size][/font][/color] [color=#666666][font=verdana, arial, sans-serif][size=3]I Know How Much It Is Worth Plus 2k But As I'm A Guitarist I Rarely Play It. [/size][/font][/color] [color=#666666][font=verdana, arial, sans-serif][size=3]I Would Like More Than What It Is Advertised For However I Am Happy For It To Have A Loving Home [/size][/font][/color] [color=#666666][font=verdana, arial, sans-serif][size=3]I Can Deliver At A Cost.[/size][/font][/color] [/quote] Why Is This Moron Writing Like He's Never Had An English Lesson In His Life?

Originals 'downer' - "Guys you were great, sounded a lot like The Feeling". 90% of all covers gigs and people who didn't read the form properly - "Let me just write you a cheque"

The guy who sold you this is either one of two things: a complete moron or a total twat. Needless to say you've got to make sure you get all your money back through some sort of civil action, and don't ever buy anything vintage without the appraisal of someone you can really trust. If it looks/sounds too good to be true, it almost always is. Sorry you fell prey and I hope you can resolve the situation.

I've had the pleasure of working with some of the best drummers I've known and I count myself lucky for it as I cannot stand playing with drummers who aren't dynamically aware and are rhythmically challenged.

I was in Switzerland over the weekend, popped into a friend's vintage music store and got my hands on a Hofner Club, I'm guessing late 60's. The thing was set up like a complete dog, the flatwound strings were at least an inch of the fretboard but the sound out of it was absolutely amazing, massive, warm, almost an untameable hollowness, totally unique tone. Grabbed a pick and instantly sounded like Macca, it was ridiculous!

[quote name='Chris2112' timestamp='1350147768' post='1835208'] It's a great track. The bassline isn't perfect and it's better for it! [/quote] +1. The sooner people are able to get round the idea of perfection in technique having very little to do with good music, the sooner people can actually start enjoying music for what it is.

Herbie Hancock's Thrust, Mr. Hands, Man-Child albums. Probably the funkiest you can get, Paul Jackson, Freddie Washington and Jaco on bass to name but a few.

[quote name='51m0n' timestamp='1349963194' post='1832788'] +1 How could you ever know if it were done carefully? [/quote] People get an idea into their head about what autotune does and then go right ahead blanket statement. It's got to be a lack of familiarity with how a lot of records get made.

Really loved this, although I'm a big Michael League fan, a lot of other players wouldn't have done that justice at all. He's injecting some life into jazz which is really appealing to me. The Rhodes sounds like an absolute dream.

I like Victor Wooten, but rather his attitude towards music rather than his bass playing, which is of no real interest to me at all. He's far more broad-minded in the way he talks about music than quite a majority of people on this forum for example and I think a lot can be learned in hearing him talk and indeed hearing him play. The unfortunate part is that he trades off the fact that he has this immense technical skill on his bass. He's said it himself that he's been pigeonholed this way but at the end of the day it's what he does. As far as criticising him goes, fine I guess but it seems a shame that a musician who is so incredibly open-minded and talented can get slammed by so many people who are so very close-minded - not a pop at the OP, just an overall attitude that I see a lot of on this forum I guess.

Cool!

[quote name='Big_Stu' timestamp='1349904049' post='1832186'] If I had a bass I was so chuffed with I'd play it to death for quite a few weeks before I decided what - if anything - needed changing on it. [/quote] Definitely this. There's no point looking to change stuff when in all likelihood the bass is absolutely fine. As long as you're happy with it!

Ignore the elitists is what I say, mostly because they'll tend to be hobbyists who's opinion is based on a pigheaded unwillingness to deal with another's opposing point of view. If you like a bass, then feel no shame in enjoying and playing it, that's what bass guitars are there for!

The think I find most frustrating about Muse is their willingness to play into the hands of those who consider them a 'novelty' act. There is so much that they could have done recently, they've had amazing longevity considering the harsh climate for bands in the top 40 album and single charts and Matt Bellamy is a terrific songwriter, an incredible musical talent despite what you might think of the band in general. He could be championing the sound of something a lot more meaningful. But instead they go into the studio and record stuff like this, it's really discouraging.

It depends on how you choose to define artistic integrity and how you implement it in a studio environment. There are plenty of bands and producers out there who are interested in making real records where vocal and instrumental intricacies, artefacts and mistakes are considered to be the very thing that makes records enjoyable and individual. There will also be exceptions to the rule, where the focus on a vocal or instrumental part could be compromised if certain elements of the music are considered to be badly performed. Lastly, if there's a time frame that needs to be adhered to (and time in studios is usually money), then you need to be able to make the best with the facilities and performers you have access to. Plus all the variables in between.

[quote name='Dudgeman' timestamp='1349806778' post='1830833'] just a quick video of my bass cover of Animals by Muse from the new album..Yes it sounds like Radio head..no its not the most complicated line in the world....but I love this song..probably because I loved Ok computer as well! Hope you like the cover...oh and the audio came out really well as well. [media]http://www.youtube.com/watch?v=q683MMp9S9Q[/media] [/quote] It sounds a lot like Radiohead, particularly the more recent In Rainbows tracks. It's still definitely Muse though. But nice playing, you even look a bit like Chris Wolstenholme (it's the low-slung bass I think!).

I prefer roundwounds on fretless, I think they bring the sound of the fretless bass alive, something I don't think is as achievable with flats IMO. Personal preference. I string my fretted P-Bass with flatwounds as I prefer the solid low end that the strings can provide on a track.

Like 4 Candles says, I think if you enjoy playing then you'll play whenever you get a chance for the most part. I find it a way of relaxing as well as it being my job, I love plugging my headphones into my amp and playing along with my favourite tracks.

I was talking to Phil Mulford a while back, a great (excellent in fact) bass player himself, he talked very highly of Nick and I believe they share a number of gigs between themselves as well as Lee Pomeroy, pretty much covering a lot of the London dates.

I'm sure there will be a lack of familiarity playing live with the songs. Rehearsing and playing out live are totally separate things, as you will probably end up losing a lot of personal control over your sound and monitoring. This is something that threw me at a gig last night, a load of new original material that sounded great in practice, sounded great when we sound checked (great sound guy too, plus good monitoring), but became very difficult to recount in the heat of the moment. Needless to say, it happens to all of us I'm sure!

So cool. He's really up there with the best of the session guys, apparently his reading abilities are second to none - something that wouldn't matter if a bass player doesn't have a great feel, but he's got such a groove on him! EDIT - I should add, a lot of slap players put me to sleep, but his feel is really compelling, he plays almost like a drummer would approach playing his kick and snare with his thumb and index fingers. Great stuff!

Vocal arrangements are where it's at, these kinds of pedals are far less preferable than seeing 4 or 5 people perform great harmonies if their capability is there. It's like anything though, if you use stuff like this to correct personal inadequacies then it becomes totally pointless.

[quote name='Lord Sausage' timestamp='1349610162' post='1828190'] Mind you The Beatles, Led Zep, Jaco, Jamerson etc ain't that current but it doesn't stop people talking about it! [/quote] I think they left a bit more of a lasting impact on music if we're being fair! I always get reminded of Goldfrapp whenever Moloko get mentioned, another act that I really love: http://www.youtube.com/watch?v=kVPVacTqgWg