Kongo

[quote name='Delberthot' timestamp='1357246947' post='1919927'] Think harder then Mine does and always has done - is there some reason why my right wrist shouldn't touch my bass? [/quote] Players who have the bass on their chest ala Mark King tend to have what I call "T-rex" arms when playing finger style, so their wrist does indeed touch the body haha. My outside forearm touches mine when slapping and I have it about torso level, so it's very possible. All those twist and turns of the wrist tend to rub and get sore after a few hours. But one of many uses for wrist bands.

[quote name='yepmop' timestamp='1357168091' post='1918717'] With so many of you wearing them, sounds like a good idea to produce some wrist bands with the BC logo and flog em on here? [/quote] It'd be a crime not to, they are a piece of clothing for many players arsenal. :-) But please, make them in 3". I'll buy one. As people are speaking designs they wear, I have my recent Devin Townsend Project one on my left wrist, and the Dai Gurren motif (seen as my avatar) on the right, which I ironed on from a transfer. :-P They keep my hands nice and dry when playing live and wrists nice and warm otherwise.

I'm an avid user of these. I stopped at one point but recently came back to em. Keeps a little extra warmth and tightness to the wrist as well as protect from scrubs and scrapes...Although I use them also for their original design; to stop sweat from going from my arms to hands when playing live. Dry hands grip strings better. :-P I tend to use 3" length ones (long-ish), same as tennis players use. Hard to find though, at least plain or with a decent design. I just picked them up at various gigs when my favourite bands play. Never leave the house without them. :-) If looking for sporty, these should do the trick. http://www.amazon.co.uk/DOUDLEWIDE-SPORTS-WRISTBANDS-BADMINTON-SWEATBANDS/dp/B009TRCZ1M/ref=sr_1_sc_1?ie=UTF8&qid=1357088145&sr=8-1-spell

Devin Townsend Project - Infinite Ocean. Just close your eyes...and become swept away. http://www.youtube.com/watch?v=rKkk3RNW8Nc

[quote name='alyctes' timestamp='1355788124' post='1902889'] I've got one. It's fine - comfortable, good to play, nice neck, maybe a little characterless in the sound somehow? - but its electrics are not ideal - the damn thing eats batteries. Net result, I never use it. [/quote] The unfortunate result of an earlier model. That issue has been fixed now and hopefully, the model of the OP has fixed electronics. I have the 5-string version, got it for narrow spacing and 35" scale (as all my others until now were broad necks). Low end is very powerful, but overall the tone isn't for me. Plays incredibly well though.

[quote name='BigRedX' timestamp='1355589914' post='1900305'] Exactly! The bass I have with the widest spacing at the bridge also has the narrowest at the nut. Anyone looking at it purely from a bridge spacing PoV might be in for a bit of a shock when they actually played it. Therefore unless I'm supplying specifications for having a bass built I've stopped looking at the numbers and just go with how the bass feels when I play it. [/quote] Ibanez BTB 6-string comes to mind. Generous spacing at the bridge...Almost the same at the nut, neck has almost no taper. X-D Riffing anywhere before the 5th fret becomes tiring. As for brands, if you're using an Ibanez, LTD also has very similar spacing. I bought an F-series purely for the narrower spacing for when I'm playing stuff that's pretty much finger style and my left hand has to flail all over the shop to keep up. Helps keep fatigue down when unnecessary mass of bass is just that. Failing that, Spector? Peavey? Warwick?

[quote name='Damonjames' timestamp='1355297483' post='1896408'] Hey guys n gals, I was just wondering if anyone had any tips on how to get more attack on the strings. I am a finger player and have been asked by my guitarist to play with a pick so I am trying to get a more tight pick sound with fingers. I already play quite hard and towards the bridge so I think I'm running out of options. Any help would be appreciated [/quote] Why is he asking you to play with a pick? Nothing against them but isn't it your choice how you play? Anyway on with attack. I have a very fierce attack and it cuts through the mix of even loud guitarists dropped between B - G# at times. 1st and foremost, move to the neck pickup, you'll get a tonne more attack from there. If you need to get tighter, more staggered notes, move back to the bridge. I use both, but ride the neck 90% of the time. It'll feel looser there to begin with, but here on you can dig in more. Add some more highs and remember the low mids. The 100hz mark adds a TONNE of punch and you'll sear through in that area, just add some zing on top. I wouldn't scoop the mids too much, the human ear picks up on that frequency the most. It may make you sound "cleaner" but you'll drop out of the mix big time. Stainless steel strings also help. Last but not least; hit at a different angle. Instead of going through the string horizontally, angle it a bit more 45 degrees and hit from the top down, this will "clank" the string against the last fret, almost slap like. This is what you'll get when you use a pick anyway. Trust me on that one, you'll cut so hard the guitarist will wish he hadn't spoken. :-P

[quote name='4StringFortress' timestamp='1354691019' post='1889100'] I've been interested to know how these 1000 series TRBs compare and they sound pretty good to me, how much do they go for S/H? I'm getting to the point where I'm starting to collect TRBs now because I love them that much! My excuse is that I always need a back up... And a backup of a back up I'm also going through the same phase with the BB models as well (Damn you Yamaha stop making good basses!). [/quote] Hmmm, it's pretty damn hard to put into words and as current I still do not have any video's up or recordings with it. I got it, I guess with the excuse of a "back up" but I'm using it more atm. It goes side by side with my TRB6II fine though, they both sit in the band mix fine. I'd say the TRB1006 still has that aggressive tone I like, and with new ProSteel strings on, popping will sheer your ears off until they simmer down a bit. The pre-amp seems to have more punt, same 9-volt but turning them puts more gain than the TRB6II. Also, it has centre indents you can actually feel haha, so retuning to flat is much MUCH easier. The neck is still quite "chunky", but it's a little flatter compared to the roundedness of the TRB6II. Not to use lettered shapes too much but it feels more like a D than a C. The build is extremely high, seems to use a very similar bridge. Pickups look the same, though not sure of the internals. Visually the load out looks the same, so your right hand won't feel any difference. Spacing is 17mm instead of 18mm, so slightly closer but a welcome edition; means there's an actual difference between them. Has the same inlays as the BB series as well, which is nice. Oh and the flamed maple top is delicious! Body is still quite large but the top horn is shaped a bit different, more like the higher end RBX's. There's a cut-away on the bottom horn as well but I think it's mainly aesthetic because as any TRB user will know; you can't reach up to those easily because of the HUGE heel join. X-D My TRB6II was set up at The Gallery before I bought it and the huge neck means it never moves, so I've never had to adjust it. Not sure if the frets were re-done (the varnish was sanded off the neck and waxed, giving a less sticky feel) so can't actually say about it's original build but Japanese built I'm sure it was near perfect, if not. The TRB1006 is close, but there's a couple of frets, the 3rd on the B-string and 4th on the G-string that buzz a little more than normal. Still frets but I'm gonna get them sorted by a pro soon. I'm being honest in that fault but before the hate may come on these Korean built basses, compared to other brands it's a minor niggle, and may only be on mine. They aren't glued in, unlike my TRB6II, but that's to be expected. Weather could lift them but again, huge neck doesn't move. I have the action low, but it's 5mm off of the frets instead of the 2mm my TRB6II has, understand that's crazy low though! 5mm is still lower than most. As for opinion, the band loves the way it sounds. There is a difference, it's slightly darker, but other than when solo'd it's hard to tell which I'm playing. I think the TRB6II has more "girth" to the note, but then...Ah tone is hard to explain. It can be really velvet when you play the higher strings, slap or tap with it. It sounds and feels high end, defo no cheap bass and if anyone saw it they wouldn't think it cheap either. Long story short, I've owned a perfectly built TRB6II that has played 100% faultless, even here in the UK, even when left in the band room which currently is freezing cold without the heater on. I am currently happily playing the TRB1006, currently more so than my other because it's newer to me. So what I'm saying is; despite the way these are looked down on, I personally as a player and avid lover of all things Yamaha think it's a great quality instrument. If you can get one, you should. They seem to sell for the same price as the TRBxII series, because they are "newer", so it'd be a tough choice. But like yourself, I got one because I wanted it for my collection and wanted to judge it by my own experience. As said, I think they should be treated as they are; a difference part of the series. It's unfair to put them up with the others, but if you were to I'd say they ain't far off. If you want a more modern neck profile and slightly narrower spacing, these are definitely more for you than the TRBxII series.

[quote name='JohnFitzgerald' timestamp='1354733024' post='1889812'] To be honest, it just sounds mighty no matter what I plug it into. I did a gig last week with no backline, but with 2.5K of PA and it wast just awesome. Depth, clarity, voice, B string rumble. It was all there. For the first time, I'm at a loss as to what other bass might stand a chance of being played next to it. [/quote] That's what I fear, or don't haha. I think Spector would be the only brand to move me from my Yamaha TRB's. The tighter spacing might not work in all areas but I'm pretty adaptive as a player, more so if the tone and feel is right.

1st fretless was; and is, an Aria Pro II 6-string. The one I got afterwards for playing at home (6-string is for my main band) I got off of here for little over £100. It's an "Infinity" 5-string. They sell on Ebay, some oddball brand, has no serial number etc but I tell you what it's even better than my Aria is. Unlined, resonates perfectly, action is flat all along the board about 3mm above and all notes come out perfectly. Tuners etc won't last but swapping them will be easy. EMG style soap bars. Not sure if they do a 4-string but I'd give em a Google search. :-)

[quote name='chrismuzz' timestamp='1354730206' post='1889737'] The only bit of string making wizardry that I subscribe to is the hexagonal core thing, simply because it makes a very obvious difference to me. I like the strings to be nice and tight, without having massive gauges which lead to crazy lows. My .152 low A isn't tapered and i've never been bothered by it, just required a bit of bending at the saddle end [/quote] Hex core does indeed make a difference, at least to my fingers anyway. Any non-tapered string I also bend to break the angle straighter. Another annoyance is some overwind the ball end of the string, and it's impossible to insert it through the bridge if you're not using Fender style because it doesn't bend! :-/

[quote name='Lfalex v1.1' timestamp='1354728962' post='1889712'] On a general point, there's just TOO much myth attached to strings with regards to the effects of the many variables in string design and manufacture. I do wish the companies would give us a bit more info to allow us to make more informed purchasing choices. [/quote] But the whole special way they are wound around a nonagonal core with specialist metals that were tempered in the fires of Mordor seems legit enough and should coax anyone to give em a try. :-P

Someone asked who else do tapered strings. D'Addario do tapered low-B's. I have them on some of my ProSteel sets, unless it's not needed. Also, Conklin. I've had .150, .175 and .190 with a taper from them back in the day I used armoured cable for a low-G#. :-P Pretty much needed then haha.

[quote name='JohnFitzgerald' timestamp='1353014337' post='1870618'] I think I can contribute to this thread. I am as of the last 24hrs now a Spector owner. Had been checking out lots of stuff over the last few weeks and finally plumped for this bad boy. It doesn't seem to photograph particularly well, but I've tried my best. Being such a deep cherry red, it really needs strong light and I'll need some daylight for that I think. Anyway, here it is. [attachment=123870:IMG_07411.JPG] [attachment=123871:IMG_07471.JPG] I've had 6s before, but not what you might call anything of great quality. [/quote] That, going through a Trace Elliot, has to be aggressive and beastly as hell!

I guess I'm also gonna add in here the rarely known fact that I found out once from having excruciating pain in both my hands. Vitamin overdose. Sounds silly but both Vitamin A and D are found in Cod Liver Oil AND Multivitamins on top of my diet of the time. I used to take both together and ended up exceeding the recommended ug by quite a bit and was actually feeling the effects of Vitamin D toxicity. One of which being extreme joint and muscle pain. I felt twinges before but thought it was work doing it, according to my GP, that was a sign. So, maybe check your vitamin intake? That too can cause joint and muscle pain if you have too much. About two weeks of taking neither my body flushed it out and my hands felt better...I did fear the worst, it has to be said.

[quote name='thepurpleblob' timestamp='1353934248' post='1879833'] I don't think I ever curl my thumb over - I was never a guitarist I also don't practice with a strap. I just sit the thing on my knee. Is that a bad plan? It's fine for down the thin end for the last n years. [/quote] I like to wear my strap even when sitting down. Bass is in the same place when I stand and sit, and it also takes weight off of your arms and hands from keeping it in place. Might only be a bit, especially if it dives, but it's wasted energy. Maybe seating position? I prefer classical, as it feels like I'm standing up and my back isn't twisted. Keeping it nice and straight. [quote name='Bilbo' timestamp='1353938358' post='1879927'] Sounds to me that you are using too much pressure to fret the notes. You had the strength to do this when you were three, you just need to use your hand more efficiently and relax it. It should not be that hard to fret a note anywhere on the neck. [/quote] I'm gonna use that quote. :-)

[quote name='Bilbo' timestamp='1354615949' post='1887987'] Hand injuries take forever to heal because you use them all of the time. I have had pains of one kind or another for years but you can manange a lot of difficulties by being aware of how you use your hands and by improving their grace and efficiency. Alexander Technique is useful as a starting point but also things like ergonomic keyboards and vertical mice can be helpful if you use computers a lot (a lot of hand pain is actually wrist trouble). [/quote] ^This. I went to town on a load of difficult playing without warming up once...Didn't cross my mind I'd just crossed a line I usually watch. Tendons in my wrist started to gain a "dull" pain and for quite some time I backed off on my playing. But because I work using my hands all day, working on cars etc, the healing took longer. Since then though, whenever I play I'm also feeling out for pain or odd sensations. Often you get set into a song that's easy to play and relax too much, meaning your arms fall into different positions than normal, and this is bad. That's what I noticed my folly was and although it takes a little more concentration, I make sure to pay attention to any feeling I may have. Thumb getting a little cold on a hard part? I'm pressing too hard, time to let off. That's the median nerve getting pinched. Wrist feeling a little "off"? I'm bending it at a funny angle.

Damn, that blue finish looks better than I thought on the TRB6ii. Only thing I got tired of with mine is the amber finish on it...Not really to my tastes. Didn't mind it to begin with but oh well, price I pay for an excellent bass. I do want another one day though and it will be in that finish. Anyway, today I got a Yamaha TRB1006. Figured as the price was right I'd try one. I mean, narrower spacing has it's benefits in places and the more modern neck profile is welcome. 17mm is still comfortable to slap with to me. Have to say, not sure why people say these are a poor version. 1st off, it's not really fair to compare them as the specs are different (Spacing, neck profile, body, Korean made etc). I'm quite impressed personally and I've been using a '98 TRB6II for almost 5 years now as my main bass. Tone is a little darker. Still sharp and aggressive but the mids are different. Action sits 3mm off the frets, just like my TRB6II. Same inlays as the BB's of today as well, which I quite like and do I love the trans red over quilted maple finish. It's missing the "TRB" motif off of the headstock but I guess that's just to show it's a "lower end" model...If you could call it that. All in all, I think the 1000 series are great basses in their own right. There's a reason they have a different numerical name. :-P ...And I can't upload pics atm it seems so I shall get back to that, along with my other Yammies. :-)

[quote name='shizznit' timestamp='1354578607' post='1887767'] I learnt how to slap watching Les Claypool. [/quote] ^This. Never quite got the whole "flea" influence, Les was the man for me. Also why I have no qualms slapping my fretless basses. I saw him attack his bass on "My name is Mud", and so I copied his movements, as you did before the Internet...Hurt like hell because I kept hitting my knuckle, but I got there. :-P When it came to Victor Wooten it was a big change, because I'd gotten used to double slapping strings (not double thumping) ala Claypool with great stamina...To go to Wooten who uses less movements. These days I combine the two. I know there's controversy about the technique and true, it seems it's all some players do. But to each their own, one man's thumb is another mans pick. Weapons in the arsenal and all. :-P

[quote name='silddx' timestamp='1354459736' post='1886145'] Guys, this is nonsense I'm afraid. The show does not influence and distort the music market, it is a PRODUCT of the music market. As for this concept of the 'musically dumb', well most of us on here are musically dumb, as is the rest of the public. That's why there is simple popular and rock music which sells by the bucketload, and a much smaller market for jazz, avant garde and orchestral music. People in general don't want to make the effort to develop their musical tastes because they have no concept of the pleasures that may bring. Same with food, clothing, home decor, art, literature and TV .. That's why in Britain today, there will be 10 million people wearing their SuperDry outfit in their magnolia homes with the clip framed Athena poster of a hunk with a baby above the mantlepiece, copy of Fifty Shades of Whatever on the Ikea coffee table, watching the X Factor, while eating fried chicken from a bucket, and looking forward spinning their Adele CD afterwards. Doesn't make them 'dumb' or worthy of hubristic criticism does it? [/quote] [size=4][font=arial, helvetica, sans-serif]My point has gone completely over your head man. What I mean't is it is influential in the scence they say an artist is good and BAM, they're good. No question at all, they're good. By musically dumb I mean they don't know a major from a minor and cannot detect pitch. No need to bring Jazz in here, some of us are schooled in that but choose not to play it, although Avant Garde is another matter. [color=#282828]This is once again, IMHO. :-)[/color][/font][/size]

I use things like this to warm up. 1st off very slowly so I can check everything is working properly, no complaints from muscles or joints etc, and get blood flowing. Then start to speed them up. Was taught a few years ago in college and have since made my own up. If you ever come across a lick or a pattern that is a struggle, isolate the part that's an issue and use that as an exercise.

[quote name='apa' timestamp='1354492040' post='1886720'] Its common enough stuff used for loads of things especially in automotive. Its called LOCTITE. Available in all good DIY or Automotive stores. A [/quote] +1 on this. I use this stuff for anything that may vibrate loose. It's what it's purpose built for. Stops jacks from loosening and spinning also. I set all mine up myself and most work quite well. Been all over the place over the years but these days I have it set about 2-3mm off of the last fret, and the board almost flat. My TRB6II is set like this and plays all along perfectly. A few just don't quite sit where I want them but that's because of either dodgy frets or the fact I cannot adjust nut heights accordingly. ...I really should get a pro to look at my basses, at least the ones I play all the time. Can't think of anyone in Leicester decent enough though.

Well, I've decided that it's time to move from processors, and as I don't use too many effects these days, have decided to start building a pedal set. So, I've got some of these I've asked for. So far, I've asked for an Ashdown Hyperdrive, for when I use my fretless. being able to add a tiny bit of grit to the exact mid frequency I wish AND get a lot of the original signal mixed in is exactly what I want, yet no other has worked for me. Bit much for something I'll only use for fretless, so it's on the Christmas list, along with whatever else I put together. Currently researching. :-P

[quote name='noelk27' timestamp='1354408338' post='1885745'] Yes, BB-X24 (introduced at the same time as the 3000), as did the 1300. [/quote] Thanks. Did a search on these but can't find anything outside of Japan. I take it they are real high end models? Only thing keeping me from them is the lack of frets. For what I use 4-strings for I'd need them.