Boodang

19 minutes ago, gjones said:

These days sound engineers have spectrum analysers and other gizmos, which should be able to iron out peaks in the sound. Of course there may be some venues that you just can't ever get a good sound in.

All the spectrum analysers in the world won't make up for an engineer with a warped sense of what a good sound mix is, as demonstrated by the proliferation of bass bin abuse that goes on!

Have been looking at the G&L custom shop basses. I haven't  ordered from them so don't have experience of that but out if interest they do have a list of the custom options available which are quite extensive; neck radius, nut widths, frets, lacquer finish, neck woods, body woods, binding, pickup windings etc. 

Quite fancy their version of a jazz with a vintage neck radius.

Question; should I join a covers band when I don't like all the songs they do.

Basschat answer; I can learn a song in one listening. 

I should imagine bubinga5 is not so much wondering whether to join a covers band so much as whether to take the strings off his bass and hang himself.

Quite psychologically interesting to read the replies though!

You guys should start a new topic 'how good, or not, am I at learning covers' and slog it out over there! 

At this rate bubinga5 will be put off joining any covers band for life.

14 minutes ago, Geek99 said:

Like I said you’re there to keep punters happy, help beer to sell and go home with some cash. If you want to play Rush for your own satisfaction then rent a rehearsal room because given a choice between Rush and Mustang Sally / S3x on fire most punters will vote for the former option with their feet 

I'm sure if you have the talent there's an audience for a Rush tribute band! But as always you have to be happy, at some level, with what you're playing and the gigs you are doing.

I love the way basschat threads go off topic quite quickly! We go from 'pros/cons' of playing in a covers band where you don't like all the songs, to how to enjoy playing in said band (still relevant), to how to learn songs (not very relevant). 

PS as we're off topic, if you want a covers band that'll challenge you, do jazz standards, and there's an audience for it.

Due to necessity (remote part of the world) found myself in a covers band the other year where every song we played I genuinely hated. Not a problem though as the audience didn't and it was great fun. Even learnt some great bass lines I wouldn't have otherwise. 

Drummers and their kick drums! Went to see my daughter's drum teacher play in his band, everytime he hit the kick it was like a grenade going off! It's quite ironic really that modern PA systems finally give us the power we need for bass frequencies but it often gets abused like it's a new toy in the box. 

Mackie DLM12.

I play a Jazz fretless in much the same way with lots of melodic lines. Did some gigs abroad playing folk orientated music and got given the Mackie to play through. I eq my bass through pedals so don't need amp eq and the Mackie was perfect as it's quite neutral and plenty loud enough in the folk setting. And if you need more volume you can always add the subwoofer but haven't tried that setup yet.

On 02/10/2021 at 13:58, franzbassist said:

 

Don't worry!  They have a synthetic core which stretches so they do take a while to settle, but once they do they are rock solid.  Mine took about a day to settle, just keep tuning them up to pitch and they'll be fine. 

Yep  that's synthetic cores for you. I've got Obligato's on my upright and it's the same, takes a day or two to settle in.

Check out Creamery pickups (in Manchester I think). He does various jazz and precision winds, I got a 70s P from him and it's awesome, plus a pair of jazz custom made to my specs. He's v helpful, I'm sure he'll rewind your p pickup to your specs. Can't recommend highly enough. 

EQ; unless you've got big folded bins your bass cab, no matter what it's loaded with, will start to roll off significantly below 100hz. Consequently perceived bass out in the audience is more defined around eq'ing the 80/100hz area and definition of your notes eq'ing the mid range area.

I had an SWR Silverado combo once, the 4 x 8 version. Dreadful sound on its own but cut through in the live situation really well and in the band context had a great sound.

In contrast had a Trace Elliot 300 watt 1 x 15 combo which was plenty loud and sounded great on its own but was always fighting boominess in small venues. 

In terms of being heard and controlling tone, have had the best success with 4 x 10 cabs. But it's different for every player of course.

... or natural if the wood is good enough.

Sunburst with tortoiseshell. Got a tort control plate for my fretless as I like it so much.

11 minutes ago, Cliff Edge said:

I came here expecting a discussion on alternative energy. 
So disappointing. 

Yeah, Billy Cobham, Chick Corea, Tribal Tech etc... how disappointing can it get!!!!!!

2 hours ago, Fishfacefour said:

Ooh yes. More groove stuff please.

I'm certainly not up to Paul Jackson standard yet, but do love headhunters etc.

On the groove front:

Victor Bailey - Sweet tooth

Lenny White - Wolfbane

Pleasure - Joyous

Not forgetting anything by Medeski Martin & Wood, plus the entire Billy Cobham backlog.

On the groove side of fusion... Bennie Maupin. 'It remains to be seen' from the Slow Traffic to Right album. Very 70s but always ripe for a modern interpretation. 

15 minutes ago, Bobo_08 said:

Out of interest does it have a preset for Harp do you know?

Has presets for bagpipes, sitar and even a Rameau temperament amongst other things.... but no harp!

Peterson strobo clip. Works on everything, double bass, eub, bass guitar, guitar and low Bs. Also has 'presets' that are optimised for different instruments, upshot of which it works perfectly.

16 hours ago, MartinB said:

Great - thanks! It's good to have confirmation that it was a problem at one point. All I can find more recently is that they've been using loudness normalisation based on LUFS (like all the other streaming services) since around 2015, so videos may have their overall playback level statically adjusted to sound similarly loud, but there shouldn't be any alteration to the dynamic range of an individual video. Apparently peak limiting _is_ possible if you really push the boundaries, but I couldn't find any examples or anything to suggest this is something people run into under normal circumstances.

... I don't think the ins and out of YouTube compression has ever influenced my decision on a compressor pedal for my bass!

Sorry for the shameless plug but.... there's a Source Audio Bass Envelope Filter pro in the 'effects for sale' section for £100. A sort of early and basic version of the Spectrum (only does envelope sounds) but with lots of knobs for manual twiddling rather than being computer programmable. 

13 minutes ago, Downunderwonder said:

Unless you are playing very aggressively you won't notice a compressor. That is until it's flattening your dynamics, which you most likely wouldn't like with your melodic playing.

There's a good YouTube video from Andertons where they compare various compressors, they get to the most expensive one and can't hear much difference commenting 'is it a good thing or bad thing that it's so transparent'! 

Having said all that, a decent compressor is the one pedal I wouldn't be without on my board.

3 hours ago, Hellzero said:

I've been buying my first headless 34 years ago and since then have been owning and playing hundreds, really, of headless basses.

 

I never had a problem with the clamping system as long as you cut the strings after clamping them with the needed pressure of the hex screw.

 

I've put some White Nylon's on my Leduc U-Basse 4 fretless and simply noticed that the G string needed more screw pressure when clamped.

 

After that it was staying in tune perfectly and I could detune it and retune it without any problem.

 

Before that, some headless fretless basses have had Black Nylon's without any issue at all, even my sixers.

 

Check your clamping screw, the clamping side must be slightly flat rounded (slightly flat ball shaped to match the pressing point) without any asperity that could cut the string.

 

If you have this kind of hex screws, you are in big problem, so round them much flatter and it will be fine :

 

 

 

Thanks, I'll check out the profile of my hex screws. This could be the issue as so far any string I clamp the windings break open when I apply tension, which probably means they are are getting crushed by the screw when clamping. I'll experiment and get back.

I mostly play fretless and EUB and have been experimenting with compressor options myself recently. It depends on whether you want something that you're going to change settings on during a set or if it's a 'set it & forget it' type, but this recommendation is for the latter; a TC Electronic Spectracomp.

I was surprised by how well it sounded and now it's always on. The main reason for this is the toneprint presets you can download. Tried them all and found the Nathan East settings to be spot on. The Spectracomp is a 3 band compressor and what I love about the toneprints is that someone who knows what they are doing has effectively programmed it for you and there's enough to find one to suit.... provided it's a set and forget thing you're after. And the bonus is it's not expensive. 

13 minutes ago, chris_b said:

Being at risk doesn't mean that RSI WILL happen. Maybe the real issue is how hard the right hand plucking technique is. There are some players, like Stanley Clarke, with a very bent wrist who don't appear to have problems.

 

IMO digging in seems to be a more risky technique with a bent wrist. Maybe guys with a lighter feel are not in the danger zone.

Good point. How light, or hard, you play must be a factor, and as you say there are plenty of players out there with bent wrist technique. 

However, as far as what could be called 'good technique', if I'm teaching a beginner, I certainly would be showing them to play with a straight wrist.