BottomEndian

[quote name='Chris2202' post='953215' date='Sep 11 2010, 10:22 PM']the plastic bridge on the top of the neck[/quote] The nut? The most likely culprit (assuming the new strings are the same gauge as the old) is not having enough windings on the tuning post. Quick way to check if this might be the problem: apply light pressure on the string between the nut and the tuning post. If it stops buzzing when you press down on that part of the string, that string's probably not exerting enough downward pressure in its nut slot. When you're stringing up, if you work down as the windings come onto the post (putting 2 or 3 full windings onto the post, finishing up with the string meeting the post near the wood of the headstock), that creates extra downward pressure from the string onto the nut slot, so it's less likely to vibrate in the slot. If you post up a picture of your nut and headstock, we can maybe take a wild stab in the dark.

[quote name='ahpook' post='953200' date='Sep 11 2010, 10:03 PM']blimey, is it still that cheap ? and i suppose you can still pop to the chillingham for a pint after ?[/quote] It is indeed that cheap, and now closes at 11pm. Only £5/hour until 5pm too. You [b]can[/b] pop to the Chillingham after... but these days you tend to be delving into the sort of territory we're covering in the "dickhead" thread.

[quote name='ahpook' post='953184' date='Sep 11 2010, 09:39 PM']1st avenue...home of the stickiest floors in any rehearal studio in newcastle...well it was when i was there regularly ![/quote] There's still a moderate stickiness, but it's all slowly being re-done as time and budget allows. Steve's actually made some really impressive acoustic improvements to all the rooms. At £6.50 an hour at peak time, I'm not complaining.

[quote name='ahpook' post='953146' date='Sep 11 2010, 09:00 PM']i know the vendor's being a bit foolish, but we all do that now and again. maybe they're dyslexic ?[/quote] Maybe it's Sean Connery?

[quote name='ahpook' post='953115' date='Sep 11 2010, 08:30 PM'](polestar - anyone remember it) ?[/quote] It was still going strong until a few weeks ago, but I've heard (unconfirmed) rumour that it's had to close down. The unconfirmed rumour is accompanied by another unconfirmed rumour that it'll be reopening somewhere else soon. I dunno. I always rehearse at First Avenue anyway cos it's cheapest! (And the guys there are top fellas.) Here endeth the pointless diversion.

[quote name='ahpook' post='952516' date='Sep 11 2010, 10:01 AM']do you have to mention shocked frogs after the 'sick monkey' thread ?[/quote] Oh sweet zombie jesus. You had to make me go and look... Yeeeeuch.

Maybe it's just me, but the speaker configuration looks kind of like a surprised owl squatting on top of a shocked frog.

[quote name='Annoying Twit' post='952478' date='Sep 11 2010, 09:22 AM']A google search finds this: [url="http://guitarz.blogspot.com/2010/03/moridira-hurricane-exb-01-bass.html"]http://guitarz.blogspot.com/2010/03/moridi...xb-01-bass.html[/url] But, the basses look very different. So, perhaps the use of the word "Hurricane" is concidental.[/quote] The "Hurricane" script logo looks identical between the two basses, so I'm guessing they're from the same stable.

Love it.

Page five and no one's posted this yet? FWIW, I'm not keen on fingerboard LEDs (but presumably I could just switch them off) or neck-dive. Other than that... I'm not fussy. Preferably no frets, preferably five strings. Whatever.

Or [url="http://www.musicroom.com/se/ID_No/0293380/details.html"]http://www.musicroom.com/se/ID_No/0293380/details.html[/url] in the UK. I think I'll stick that on order, just for more sight-reading material.

[quote name='Bilbo' post='950820' date='Sep 9 2010, 05:00 PM']Absolutely. The show was proper dots - fully transcribed down to every detail.[/quote] I really want to get gigs like that. Time to start nudging my contacts...

Honestly, the drum chart for almost every song in [i]Annie[/i] was just four quavers to the bar, notated on snare and bass drum. Boom, boom, boom, boom. Chances of sight-reading appropriately to the song? Nil.

[quote name='Bilbo' post='950807' date='Sep 9 2010, 04:44 PM']What's Going On, Son Of A Preacher Man[/quote] Just taking those two (because they're well-known examples of relatively simple basslines that got highly embellished with little variations on the original recordings), how do they get notated in a pit-band environment? Simplified version? Full transcription of all noodles? Simplified version with "ad lib" scrawled at the top? Having drummed for a few school musicals, I know the written drum parts leave a lot to be desired, so I'm wondering how the bass parts match up...

[quote name='Rayman' post='950756' date='Sep 9 2010, 03:57 PM']It'd be a shame to pull the upgrades out of that particular bass, I think it's quite special as it is.[/quote] I think you're right. The singer-songwriter I'm playing with at the moment loves the tone from the Levin as much as I do. Loads of bite and growl, and the EQ's [i]so[/i] flexible. Like I said, it's my go-to bass when I want frets. Doesn't happen often, mind.

[quote name='tauzero' post='950041' date='Sep 8 2010, 10:46 PM']You missed the one that got me - $499 for a lined fretless. That is, instead of hammering frets in and stoning them all and crowning them etc, you stick slivers of wood in the slots you've already got cut for the frets and sand them down flat. So you pay them $499 for them to do less work.[/quote] I did indeed miss that one. I assume the fretlines are made of pieces of the True Cross or plastinated slivers of Einstein's brain or something.

[quote name='CHRISDABASS' post='949877' date='Sep 8 2010, 09:07 PM']$999 for a different radius on the fret board???[/quote] That's the one that got me. I mean, I don't usually care about this sort of stuff. People want to pay those figures for these basses, so Fodera can charge those prices, and that's fine, but... $999 for a different radius? F***'s sake.

[quote name='Rayman' post='949561' date='Sep 8 2010, 04:13 PM']I spent a lot of time and money putting a Nordstrand 5.2 and a John East EQ into an OLP Tony Levin, but it just never was as good as my bog standard 2EQ Musicman Stingray, just not in the same league at all. Like you say, a great backup, but that really was all it could ever be, even with all the kit stuck in it. The quality of the timbers, screws, machining, everything just are not comparable. A musicman bass just feels like quality the minute you pick it up.[/quote] I think that's the OLP I've ended up with. Brass nut as well as the Nordy/East combination? I know what you mean about the build quality. Not even close, and the neck profile's quite "clubby". BUT... tonally, I love it. It's my fretted bass of choice at the moment, and I actually prefer the sound over my genuine SR5. To me, it out-Stingrays the SR5. Very tempted to put the East into the SR5, but the SR5 might not hang around too long after my ACG build's finished so I'm not sure it's worth it.

[quote name='silddx' post='949511' date='Sep 8 2010, 03:24 PM']I must stop self harming on the internetz [/quote] Never! I love these threads of yours! [b]Controversial statement ---> Vociferous discussion ---> Reconciliation ---> General love-in[/b] Time for stage 4, methinks. I love you guys.

[quote name='scalpy' post='949418' date='Sep 8 2010, 01:42 PM']Cornet. I was blagging my way the whole time whilst studying Music at Uni.[/quote] Hehe. Bet you never did the "Section 4 Semiquaver Waggle". Players so bad at reading that they reach a group of semiquavers and fly into a blind panic... valves waggled as fast as possible until the semiquavers are finished... sonic result of 20 people doing it simultaneously: [b]flblbbflabfblbfbflbl[/b]. Awful. They'd even do it in really slow pieces too, like crotchet=50 sort of tempo.

[quote name='brick' post='949403' date='Sep 8 2010, 01:29 PM']just out of curiosity how do people count most of the Meshuggah stuff, ive always thought of it as 4/4 with some really unusual subdivisions as the drummer seems to keep a 4/4 pulse going throughout, if I remember rightly when future breed machine was transcribed in bass player a couple of years back it was done like that[/quote] That's right. From [url="http://en.wikipedia.org/wiki/Meshuggah#Musical_style"]Wikipedia[/url]: [quote]Hagström notes about the polyrhythms, "We’ve never really been into the odd time signatures we get accused of using. Everything we do is based around a 4/4 core. It’s just that we arrange parts differently around that center to make it seem like something else is going on."[/quote]

[quote name='gafbass02' post='949281' date='Sep 8 2010, 11:31 AM']Due to my daughter coming down with croup[/quote] Best wishes to her... that's not fun at all.

Any reason it has to be neo? A 1x12 should be light enough anyway (my TC RS112 is an easy one-hand carry, and that's ceramic... as far as I remember... ), so it seems odd to limit your selection from the outset.

[quote name='Toasted' post='949138' date='Sep 8 2010, 09:23 AM']It depend where I'm coming from and what I'm playing next... also where I'm playing on the neck.[/quote] +1 Also, I find it virtually impossible to do index, ring, little on a fretless (and play in tune ). There's just not enough room for all those man-fingers, so I'll almost always barre it when I'm without frets. Which is almost all of the time.

[quote name='silddx' post='949156' date='Sep 8 2010, 09:37 AM']Improved according to whom?[/quote] I think b5 meant improvved (or however you might spell the past participle of "improv")... i.e. improvised. FWIW, I think the level of improvisation that a tune can "take" is often genre-dependent. When I was playing bass with heavy, sludgy, riff-centred stonery-doomy stuff (never really pinned down a genre satisfactorily ), any deviation from the riff would usually muddy things up no end. Now I'm drumming that stuff, I change things up quite a lot and it's never a problem. One of my current projects involves working as a two-piece with a very chilled, mellow acoustic-guitar-toting singer/songwriter. Just me and her. Loads of room in the arrangements for me to undertake improvisations and experiments, and as long as they fit musically they can lead to all sorts of new avenues I wouldn't have previously considered for the song. When there are gaps for little melodic "solo" bits, I'll often try to bring in ideas from whatever spontaneous variations the singer might have introduced during that particular performance. Keeps things fresh. All that said... we're yet to gig this thing. When that happens, I might just suffer blind panic and rein it all in. We'll see...