risingson

The Aguilar DB750/751 is expensive but I desperately want one and have done for years now.

I like my TC rig but it does have its own sound that's very focused in on low mids. It's nice but it takes much more fiddling than my old Eden rig which used to be pretty much a plug in and play at any venue. To be honest, I'd play through most amps with my Lakland and the underlying character of the bass is always there, it almost doesn't matter what bass amp I'm using to an extent.

8 Days a Week, All My Loving, I Feel Fine, She Loves You, Ticket To Ride, I Wanna Hold Your Hand, Hello Goodbye, Don't Let Me Down, Paperback Writer, Back In the USSR, Helter Skelter, Daytripper, Lady Madonna, Penny Lane... for starters! Those are ones we play/have played in the past. We've also done a lot more of the progressive stuff too, like the masterpiece that is Day In the Life. They really are a band of so many different sounds.

[quote name='markstuk' timestamp='1332603380' post='1590581'] The secondhand value for your 2005 Jazz has gone up? :-) [/quote] Sold a while back!! Hahaha oh dear

I bought my U.S Fender Jazz in 2005 for £800 new. 7 years, £500 and a few new crappy colours later, could someone tell me what's changed?

[quote name='blackmn90' timestamp='1332533912' post='1589840'] advertising of music is a lot stronger than the advertising of cars though. [/quote] You'd be surprised.

[quote name='blackmn90' timestamp='1332528729' post='1589730'] people are conned into what they like through image and media exposure such as TV or Radio. So it's not quite as simple as you suggest. For example with katy Perry and Lady Gaga the music is written to be in keeping with the image of the artist. Not very authentic and those who say they like it probably wouldn't have done without the brand association. [/quote] You have a choice as to what music you listen to, just like you have a choice to buy what car you want as well. The only difference is that a lot of people will be marketed to and will choose to buy a Vauxhall over a Kia or a Hyundai because Vauxhall's marketing arm reaches further and influences more people. However, I would actually argue that people that buy into what is popular music to the extreme are one of two types of people: 1. lazy, or 2. people nowhere near as interested in taking an active pursuit in listening to the music. Let's face it, most of here are passionate about music, which is why subjects like these ones are so hotly debated. But the vast majority of people aren't nearly as interested. If what comes on Radio 1 or Radio 2 is remotely palatable then it will be listened to. Inherently lazy in itself, but then maybe I'm just as lazy for buying ready meals from Tesco instead of cooking for myself like a real chef would. Nothing's right or wrong, but it is telling about the way in which we consume things, up to and including new music.

Eugh, those new prices are absolutely disgusting. And unless there is a dramatic improvement in terms of quality control from Fender, they are the most overpriced instruments I can currently think of. Love Fenders, absolutely hate their current way of doing things.

[quote name='Chris Horton' timestamp='1332025011' post='1582366'] I really want to check out the MTD 535-24 , just a long way to drive. [/quote] A lot of money to pay too! It's probably worth it just to go and size it up. Make a day of it, ultimately an instrument that expensive it's got to be worth the trip BTW, MTD's are bloody lovely!

Hej from the U.K, I spend a lot of my time in Sweden and I absolutely love Stockholm! Welcome aboard.

[quote name='dlloyd' timestamp='1332335874' post='1586813'] Is this therefore "inauthentic"? [media]http://www.youtube.com/watch?v=5pVM00eoohI[/media] If so, "authenticity" is a worthless concept. [/quote] I was literally just about to say the exact same thing. [quote name='flyfisher' timestamp='1332355495' post='1587269'] I wonder what the general view would be about that statement if 'Motown' was replaced with 'Simon Cowell'? Or the Monkees perhaps? [/quote] Berry Gordy was no better than Simon Cowell, in fact he was probably a lot worse in how he dealt with paying and treating people. But Motown had real people who were passionate about music driving it. Real writers (H/D/H), real blue-collar, immensely passionate and talented musicians and hugely talented front men and front women. I'd struggle to include any of the aforementioned qualities to any artists to have been reeled off of the Syco production line.

Cheers! I might need something a bit more local as I've not got time to get over to Salford from where I live but its certainly worth bearing in mind. Already spoken to a guy on the forum with the same bass, who was helpful enough but also a bit in the dark about the origins and history of the bass. It's Czech 1/2 size, sold by Selmer London according to the sticker on it. Unusual looking thing in direct comparison to a 3/4, very much a violin-looking upright. I rescued it from a friend's garage for the smallest of fees, I'm probably going to keep it for recording purposes but who knows, maybe I'll let it go once its been looked at. Any info on the background of the instrument would be tremendously appreciated! And here are the photos, apologies as they are truly terrible. [url="http://dl.dropbox.com/u/21614589/photo.JPG"]http://dl.dropbox.com/u/21614589/photo.JPG[/url] [url="http://dl.dropbox.com/u/21614589/photo-2.JPG"]http://dl.dropbox.com/u/21614589/photo-2.JPG[/url] [url="http://dl.dropbox.com/u/21614589/photo-1.JPG"]http://dl.dropbox.com/u/21614589/photo-1.JPG[/url]

Absolutely love Tony Levin's playing. I do wish he'd give up the Chapman Stick though, really not my thing, sounds a bit like a car crash! But his stuff with Peter Gabriel is truly excellent.

Hi everyone, I'm wondering if anyone could recommend me a decent DB specialist based in the NW or England, preferably close to Liverpool. I've got a bass that needs a look at plus I'd like to find out a bit more about the bass itself and its history. Cheers all!

Authentic is a terrible word to use in relation to music. It's far too hard to apply it to anything because all music owes something to someone else. But you're right to lump 'authenticity' and 'credibility' in the same category because they're both buzzwords used in music journalism to add weight to someone's point of view. People get bogged down in concepts when in fact, today's 'credible' is tomorrow's forgotten record. Vice versa too, for example Queen were never a credible band, and yet from a modern perspective they embodied a lot about them that most musicians and non-musicians alike would consider 'credible' and 'authentic' (the blend of theatrics, genre-spanning, immensely difficult arrangements both vocally and instrumentally). Is there a specific time of music you were looking at? Is it current popular music, i.e. what's getting airplay? Or is it more underground/indie? Is it older music? There are way too many variables in the question for there to be anything real to get stuck into, it's hard to generate discussion on something so spectacularly broad and undefined.

I've got a lot of respect for Marcus Miller, after all he's developed one of the most widely imitated sounds that the bass has known and I happen to think he's an incredible musician. But I'll forever prefer him as a sideman playing with other people. For me, it's like he's been going at the same stuff with his solo playing for years, and it's sounding very tired and pretty dated. Ironically though, I'd like to see what he could do with a P-Bass and some flats!

It's easy to rubbish established and hugely talented bands based on one's own personal preference. Some people don't get that music is a huge, vast spectrum made up of a lot of artists, and that there's lots for everyone to choose from. There's a difference between opinion and narrow-mindedness, unfortunately the distinction between the two gets blurred on internet forums! On a side note, this thread inspired me to remind myself of just how good Zeppelin were. Like them or not, I do wish that we had more artists on the radio who cared at least nearly as much as Zeppelin did for writing a great song like this one: [media]http://www.youtube.com/watch?v=L1-M81ZtvTM&feature=related[/media]

I'm a huge fan of Laklands, the ex-Joe Osborn now 55-60 are great instruments, I'd pick one up in a heartbeat.

[quote name='EssentialTension' timestamp='1332101567' post='1583360'] Maybe, but for me it has no soul. [/quote] +1. And Marcus has got soul, it's evident in a lot of his recordings. But poor imitations of well established songs and bass lines and he's not doing himself any favours. Dull dull dull, totally self-serving trash.

[quote name='Lorne' timestamp='1332106582' post='1583460'] 2) Overpriced Fender Clones (Sadowkies etc),[b] why pay much more[/b] than the real floor boards cost, for the same thing with a different name on the headstock? [/quote] So many reasons!

[quote name='scalpy' timestamp='1332096260' post='1583201'] I agree with Jack White. Don't trust anybody who doesn't like Led Zeppelin. [/quote] I'm with you (and Jack White) on this one. I've never been into Black Sabbath and must confess to have never been keen on any of that kind of music, I just don't gel with it. Zeppelin however were utterly superb.

Nathan Watts is one of my favourite slap bass players. His stuff with the Jackson 5 was great. http://www.youtube.com/watch?v=2A7l-GwsEEs And Jermaine Jackson's 'Lets Get Serious', written by Stevie Wonder himself (he also sang the middle 8). http://www.youtube.com/watch?v=FMLKb4or8yg

Ricks - they look great but I couldn't ever own one Anything headless - wrong to my eyes Status - popular British brand around here but really not my thing at all Most British manufactured basses in fact. It's a very silly thing to rule out not owning something British built but for me, my favourite companies are generally American builders. [quote name='skej21' timestamp='1332028104' post='1582405'] Wals - The Delorean of the bass world. Stylistically stuck in the 80s and were never actually cool. Geeks tried to make it cool and in turn created a new low on the geek scale, so lesser geeks finally had someone to bully. [/quote] Controversially I think I might actually agree with you on this one! I'm sure they sound fantastic though.

Just re-watched it, I do love Mr Harrison, what a brilliant bloke. Fascinating stuff!

[quote name='BottomE' timestamp='1331895548' post='1580490'] If you don't get any local quotes then i'd be happy to. I am a bit surprised that so many of us find the limiter thing an issue. [b]Just turn down, thats what the big button on the amp is for[/b]. I totally understand that there is a minimum volume - usually dictated by the drummer/kit etc but apart from that its easy. [/quote] Not quite. Turning down is one thing (of course it doesn't matter how much you've turned down if the machine is wrongly calibrated, it'll still cut you off if indeed it's working properly), but it's only half the problem. The other issue is usually over-zealous members of staff keeping one eye on the limiter the whole night and getting on our backs at the first sign of red, making our jobs incredibly difficult no matter how quietly you're playing. In some rare cases it has ultimately ruined the evening's entertainment, which is the last thing you'd want at a wedding when the bride and groom have paid for you to be there and are enjoying the biggest night of their lives. Hardly fair at all. The bottom line is that if venues and staff are going to be on band's backs about reasonable levels of noise (and lets face it, bands make noise), then they shouldn't be having live music there in the first place.