Cosmo Valdemar

[quote name='martin8708' timestamp='1432579028' post='2782965'] Did another duo gig when the World Cup was on , I think East Timor was playing Yemen ( two really strong contenders ,or such like ) and the Landlord refuse to turn the TV off , and we played the whole gig with a widescreen TV just above our heads . It was like playing to a bunch of Zombies , no eye contact at all . [/quote] I once watched a band play underneath a vast telly showing, unbeknownst to the band, a documentary on Hitler and the Third Reich. A sub-par Oasis cover band playing to the backdrop of the Nazi rallies was quite a sight. The band obviously wondered why the audience was in hysterics and demanded the TV to be turned off.

I went upstairs on the bus the other day and was accused of being disrespectful by some children sitting on the back seat.

I've always been a Precision man but now I'm playing in a functions/covers band I'm really appreciating what the Jazz has to offer. There were some songs that required a bit more 'tightness' than the Precision could offer. Hand on heart the full on P bass sound is more pleasing to me but the Jazz is filling the current position with aplomb. And they look damned gorgeous to boot.

I'll lend you my Hofner Violin bass if you promise to film his reaction.

[quote name='Old_Ben' timestamp='1432291622' post='2780051'] Living in bristol, currently play ltd surveryor 5 string. (active emg) that sound meaty. We'll be in the studio for about 10-15 days plus 3 days of pre production with our producer! [/quote] I can't imagine that bass sounding particularly out of place on anything. Or any other bass, for that matter. And why would you need a bass with a completely different 'feel'? I would question this advice.

I've always had a soft spot for these. Totally bonkers but they seem to work so well. I wonder if Mr W is back on his feet yet?

[quote name='fretmeister' timestamp='1431781669' post='2774939'] I've given it a couple of hours use. It's mental. It is not a bass wah in the traditional sense (although it is excellent on guitar) in that the sweep isn't low enough. The pedal is all about getting that Burton filthy wah cutting tone. And it does that very well indeed. The fuzz is nasty in a glorious way and the output levels are frankly stupid. I set up my B7K as a tuby chunky sound (a nod t the Mesa 400+ Cliff used to use a lot) and then hit it with the wah. Instant "Bells" tone. About an hour later I noticed I was still playing that intro over and over again!! So - overall as a quacky funky bass wah - not great, in fact a bit sh*t. As a merchant of cutting filth - utterly glorious. It's already velcro'd and on my board. [/quote] Sounds great! Clips!!!

Well you've saved me a trip - I was intending to pop over to GG at the weekend to try out this very bass! It's absolutely stunning. I want one.

[quote name='Donnyboy' timestamp='1432158064' post='2778802'] Phil Jupitus of Never Mind the Buzzcocks etc is a bassman. I hear he bought a 60th. Anniversary P bass from Reddog Music in Edinburgh. [/quote] I saw him in PMT Southend once, being an absolute arse to the very helpful guy behind the till.

[quote name='Leonard Smalls' timestamp='1432192700' post='2778959'] David Cameron Kim Kardassian [/quote] Really?!

[quote name='wateroftyne' timestamp='1431361538' post='2770489'] [url="https://www.youtube.com/watch?v=8oVZXXnabD0"]Geddy on a Thunderbird (I think - I'm crap at Gibsons)....[/url] [/quote] That is awesome!!

Just seen this - check out the screens at 1:24! http://www.youtube.com/watch?v=RT7k_pJRcKE

Lovely Rita. But with a 'no singing' proviso.

That's some fast work!

Congratulations! So they are finally in stock- probably not for long! I really would love one of these. Might be some Jazz basses up for sale on here soon...

[b][quote name='Jazzneck' timestamp='1431589685' post='2772788'] +1M.[/b] All the OP succeeded in doing was putting the MD in a position where he could only make one decision - fire the driver. (Well done, son.) [/quote] How was that the OP's fault? He simply raised a complaint as he saw fit. No influence over the MD's decisions from there on. And how exactly was firing the driver the only outcome? I'm as surprised as anyone that the complaint resulted in a termination of employment but that's the fault of the company, not the OP. Your repeated guilt-tripping of the OP is becoming unpleasant. I suggest you have a look at your interests underneath your profile pic and re-think before you post again.

Regardless of the outcome, the OP received shocking service and was entirely within his rights to complain - Which he did using the proper channels as set out by the offending company. To now turn this around and accuse the OP of over-reacting and getting a man fired is appalling guilt-mongering. Stuckinthepod has done nothing wrong whatsoever.

I think a lot of this concern about 'filling out the sound' is common among rock/metal bass players - probably becuase of the rough deal we usually get in the mix. If a triple-tracked guitar suddenly takes a break from heavy riffing to solo, the bottom's going to drop out of the sound. Trust me, I've been there! No amount of novelty effects are going to make up for this - suddenly switiching to a fuzzed-up octave tone is going to sound a little ofdd to say the least. I'll echo what others have already said, some drive or dirt can work wonders. And don't feel obliged to suddenly overplay to fill in the gaps - those gaps are just as valid as the notes you could cram in them, and a sparse bassline can be far more effective than just blasting away. Have yourself a listen to the master of this art, the late Andy Fraser of Free. he knew exactly what he was doing. For a slightly different approach, Doug Pinnick of King's X, who goes for a massive, bi-amped tone which really fills the gaps sonically, but who is also surprisingly funky and sparse when he needs to be.

Not sure about the headstock, but the rest of it...

Watchdog.

I've seen countless references to players varying the volume on a Jazz bass to achieve a seemingly endless blend of tones. Sounds logical. Problem is, I can't seem to be able to do it! It seems that whenever I begin to turn down either volume, there is very little 'turn' before the other pickup becomes dominant. It doesn't feel like I'm turning a pickup down, more like I'm switching it off. The rest of the turn makes very little difference to the overall tone of the bass. I usually ride the front pickup on it's own so it's never been much of an issue but I can't help feeling there are some wonderful tones I'm missing out on - particularly all this talk of the 'sweet spot'. I've owned several Jazzes over the years, not all Fenders, and I always have the same problem. I currently play a Lakland DJ4 and a Fender MIM 60s reissue. I've recently parted company with a Road Worn - same problem. What am I doing wrong?!

I'm honoured to be the first entry on this thread! I achieved this by selling my Squier CV Precision to Mr DR. A pleasure to deal with, great comms throughout. Enjoy the bass!

[quote name='rushbo' timestamp='1431293138' post='2769789'] 10CC were the first band I ever saw - in 1978, with "Dreadlock Holiday" in the charts. They are still a fantastic live band and I'm off to see them for the 20th(?) time at the Royal Albert Hall later this month. GG is rightly renowned for his incredible songwriting, but his Bass playing ain't too shabby, neither. All of the "classic" era material was recorded using his trusty R!ckenb*cker which sounds glorious. If you only know 10CC for the hits, check out the albums - the best Pop/Rock album of the 70's IMHO was "Sheet Music", but all of the first five albums are essential. Here's the band getting all Proggy with an ace little Bass solo around 9.15... http://www.youtube.com/watch?v=5xlqS3X-TUo [/quote] Edited. That's some tasty playing there!