Wylie

[quote name='Oopsdabassist' timestamp='1330766879' post='1562617']
Ugh!....Just...No!
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+1 ... and with no fur, + 1 again.

[quote name='Lozz196' timestamp='1330775362' post='1562767']
Yes, good point tg, I should probably clarify what I meant by "Schroeders don`t sound good at low volume".

I meant at the same volume as the tv/practice amp volume. In any kind of musical/band setting, they`re amazing.
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Right you are. My trio mates can't believe the sound that comes out of mine. I got a great deal from Mr. Schroeder, too, and now I need another of his cabs!

tg

[quote name='thepurpleblob' timestamp='1330603077' post='1560068'] I'm fed up of carrying mega-heavy cabs about, have some surplus cash and want to make an investment. However - I'm confused. Anyway... current set up... I play in a loud 6-piece covers band -the PA is used only for the keys and the vocals. I currently use either an Ashdown ABM-500 plus a 4x10 plus a 2x10 - which is probably a tad more than I need. Or a Trace Elliott 300W GP7 15 inch combo with another 15 inch extension cab. I wouldn't want much less volume than the latter. Lots and lots of people seem to use very small cabs (single 12s and such) but I suspect they are playing through the PA so that won't do. I spoke to Barefaced a while back and they recommended a Super Twelve (2x12 I think) along with the ABM-500. It would be nice if that's true but I'm really nervous about going from (effectively) 6x10 or 2x15 to 2x12. Will it work? Anyway, I'd appreciate any opinions and/or alternatives. Even better if anybody is selling anything. Money isn't exactly no object but I only want to do it once [/quote]

I use a Schroeder 12" cab that weighs 25 lbs. Our group doesn't include a drummer, but we are otherwise amplified and often play loud. I play the Schroeder through a Hartke 2500 amp (getting about 175 watts with the one cab) and it sounds great. Others have said the Schroeders don't sound good at low volume, but I think mine sounds good at any volume.

Schroeder also now makes a 2x10.

tg

In my experience, great sound with new pickups (and the original sound wasn't bad). I ended up spending very little, and have a great sounding bass that plays well and looks good.

D'addario Chromes flatwounds. A bit more expensive, and a little darker and tighter, than GHS flatwounds.

Who's looking at pickups??

[quote name='Matt_UK' timestamp='1329782970' post='1547468'] Hey guys, looks like Darryl Jones sigs are back in at Lakland - and in an interesting charcoal colour too... Guessing they sorted out their differences? [url="http://www.lakland.com/dj.htm"]http://www.lakland.com/dj.htm[/url] P.S; Sorry if this has been posted already [/quote]

God, those look good.

I played guitar for years, in a limited (but very solid) way, and with great style. However, since picking up the bass, I've put the guitar down (I own two) and just about haven't picked it up. Bass is the only instrument I want to play. (And I agree with whoever said that the bass is NOT a guitar.) A whole different world of music has opened up to me with the bass, and I'll never go back.

I'd add Chuck Sher's The Improvisor's Bass Method book: [url="http://www.shermusic.com/new/0961470100.shtml"]http://www.shermusic...961470100.shtml[/url] It is not all or only about improvising, as the title certainly suggests. Sher has a very interesting way of making ordinary exercises interesting. This book is designed for both electric and double-bass players, with appropriate diagrams (esp. showing different fingerings and positions).

tg

[quote name='Jayben' timestamp='1329219947' post='1538898']
Likewise, my VMJ is absolutely beautiful. The pickups have the decal 'Duncan Designed' on them - Does this mean they are SD's? Or copies of?

Also Len, what's the problem with the tuners? Mine seem to work fine?
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'Duncan Designed' came with my '77 style Squier jazz and I had DiMarzio Jazz pickups put in. Huge difference! (There was no need to do any woodcarving, either; replacements were a perfect fit.)

[quote name='funkygreega' timestamp='1329224798' post='1539030']
A mate of mine in Africa has deided to start a music school. He needs books to teach his students so can anyone recommend some theory books I can send him?
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Chuck Sher's 'Improvisor's Bass Method' is substantially different from other instruction books I've seen, and very good, I think, for the student who's already mastered some of the basics. Instructs for double bass and electric bass: http://www.shermusic.com/new/0961470100.shtml

Not my first, but my second, a Fender Japan blue-flower precision. Yes I regret it!!

[quote name='garry warrington' timestamp='1327777689' post='1516709']
upgrading my homemade p/j bass, just been looking at some heavy duty replacement bridges around £20
would the cheaper gotoh bridge be better than these.
the gotoh bridge has brass saddles will this make difference

also is it better to have better quality machine heads for a more vibrant tone
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I don't imagine machine heads have anything to do with tone (nor does the finish on the bass, as many claim); nothing above the nut or below the bridge will make any noticeable difference in tone. That is, no part of the string that is not vibrating can appreciably affect tone.

[quote name='billyapple' timestamp='1327831725' post='1517233']
I've had the same on my Bitsa P which has a Badass II, the solution is to shim the neck, which raises the neck height. BOD2 gives a pretty comprehensive tutorial here..
[url="http://basschat.co.uk/topic/49897-how-to-shim-a-neck/page__hl__neck%20shim"]http://basschat.co.u...hl__neck%20shim[/url]

It's pretty straight forward, and gave me excellent results
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Used this tutorial and had great results after I'd had the raised-action problem described above with the Gotoh.

My opinion, a different teacher, the sooner the better.

[quote name='Marvin' timestamp='1328384636' post='1526345']
Seriously looking at getting a Pbass and although the merits of both have been discussed infinitum, apart from the headstock logo and being made in different parts of the world, what is the difference between a Mexican Precision and its Squier Vintage Mod counterpart? What is it that makes that near £200 difference?

Is the neck different? Can you get a better set up on one? Body wood? Pick ups? General feel?


EDIT: One difference I noticed, the MIM comes in different colours, otherwise - [url="http://www.fender.com/en-GB/products/productComparison.php?section=basses"]http://www.fender.co...?section=basses[/url]
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I would bet there's a big difference in the quality of the pickups. (I write this having upgraded to quality pickups on my Squier jazz and getting a HUGE difference.)

[quote name='lobematt' timestamp='1326810284' post='1502208']
Yo!

I'm looking at Footprints at the min but I'm not sure how to tackle the bass part partly as its the first jazz tune I've tried in 6/8! Also the bass on the version from Adams Apple seems to go in and out of a bass riff.

I was just wondering how other bassists here approach the song? And when you're walking would you pretty much treat it as you would any other tune but with an extra 2 beats per bar?

Thanks!
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My trio plays this in Gm. In addition to what Bilbo said, the Gm and Cm scales (in our case, at least) offer lots of great big fat notes in Eb and Bb (especially Bb). It's a pleasure to play. It's a tune that takes to being played freely, I think.

[quote name='blackmn90' timestamp='1326798129' post='1501991']
blue bossa is just two keys though which makes it far easier than most tunes i've come across. A technique im trying to help learn the tunes is to play a solo bass style arrangement of playing the melody on top of the chord tones. Its not a quick process for me yet as im having to think about positioning a lot, and also you will miss some of the chords out but as previously stated you can sometimes piece together a jazz tune by listening out for common progressions
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This may be true, but if the tune is composed of two or more ii-V-I progressions, all the more reason to see them as units, or changes of key, if you look at it that way. Doing so helps me see a lot more variety--what to do with the dominant seventh, when to use a tritone or other substitution--than I would see going chord to chord. That said, I haven't tried your technique of playing solo over a melody, which I am sure is a good one.

[quote name='noojb' timestamp='1326306499' post='1495276']
just realised theres a similar topic on here already, but about memorising lines not chords. I guess this is kind of the opposite problem so it will be interesting to get peoples views.
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I find that with a song like Blue Bossa, which has two ii-V-I movements, not a lot of memorization is really required to move through them. Once you're oriented to the ii-V-I and you've found different ways to play it, that group of chords (and the other group as well) kind of become one thing. Like lots of people, I'm sure, I've found that seeing the chords as related groups, and not as single chords, works best.

Bruce Thomas on[i] Get Happy!![/i]

http://www.markbass.it/

I also enjoyed it. Egan is hot, and yes, hotter than on the LP. In an interview, Metheny said that when recording for that outfit (can't remember his original label's name), they had two days to record the album, and no more. One of the reasons, apparently, that he left the label.

I would like to use my local music shop, but the problems begin when you walk in and the owner's large and unfriendly dog comes to greet you, barking. This seems like a drawback (maybe not to others, but to me). Then you discover that even if he has the strings you want, they are nearly -three times- the cost of buying the same item online. So, at least a couple of things are wrong with the picture.

I put DiMarzio Jazz PUs on my Squier and what a difference; night and day.

[quote name='gareth' timestamp='1325107010' post='1479972']
get yourself a pucker one here

[url="http://www.ebay.co.uk/itm/180782530546?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649"]http://www.ebay.co.u...984.m1423.l2649[/url]
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Wow. Intense G.A.S pains ...