JTUK

Played around with a Tyler gtr which played well enough but I wouldn't get the point of a variax bass. So, it's a NO from me.

Pub gigs is at the end of the night. More formal gigs a deposit is required and payment is made prior to us playing. Sometimes, gigs are paid bank transfer. Nobody bothers with cheques anymore.

[quote name='stingrayPete1977' timestamp='1425819889' post='2711007'] Lakland Skylines sell in that region so it can be done. [/quote] Yes, but they only get really interesting when you see them for £700 SH. Same as American Deluxes, at around £1000 for 5'ers.

I would guess Carpal TS but it is really a guess... The good thing...as far as anything like tis can be good..?? is that it appears to be triggered by a new or change of bass. I find I get a little ligament tweak on my palm when I use a 5st jazz neck incorrectly/lazily so I am thinking my hands/technique suit a 5st P bass type neck. My first port of call may well have been talking to a good pyshio..??? rather than a GP who will most likely have to refer you anyway..

Listened to Ed F review and he stated that the Basses are Korean made and will retail at around $1200... so that could translate out at £1200 by the time it gets here. You'd have to look at it very closely to spent that money on a Korean bass. Asthetically, it's ok and the colours seem more interesting... but you are getting into the price territory where little things need to be very good.

But.... that is what THEY want and see as relevant. Getting a bass player satisfying that criteria is only going to be a problem for them.... and if they get one, good luck. If they don't, they'll have to decide on plan B

Very rough mix.... you'd never get away with that now, and neither would you need to, tone wise. Sounds a 'live' throwaway track to me...

Does it have a handle at all..? Never had a problem with GAK myself... but then Manson's have been good to me, too.

[quote name='blamelouis' timestamp='1425672848' post='2709693'] Unbelievable aren't they. Had one guy buying a pedal off me "definitely wanted it" gave him my bank details and after no contact "I got one somewhere else" was my reply after querying the length of time for the payment. [/quote] Did you post that as feedback..?

First time in the studio is not going to go or work out perfectly. People have been doing it for years and still come up short. Use it as a learning curve and try and enjoy it. If you can look back on it in a few years time and not cringe you'll have done very well.

[quote name='chris_b' timestamp='1425721405' post='2709993'] If Fender had re badged GB or SWR amps I would have more confidence, but nicking bits of these designs (is there any evidence they actually did that?) to put in their own amps doesn't fill me with any desire to own one. My reading of the situation is that Fender didn't know what to do with the companies they bought. Several including GB came to them when they bought Kamen so it doesn't look to me like they bought GB for its technology. ............ [/quote] Agree, I don't feel that you are seeing those companies better products in Fender's range... to any any degree that counts, so I get the impression Fender wanted competition out of the way so their offerings don't suffer by comparison. I feel Fender produce products that are just there rather than justify being there..laurels well and truely rested on.. which considering how powerful the name still is, they get away with. IMO.

[quote name='The Admiral' timestamp='1425649010' post='2709379'] A friend of mind has asked me for some top tips re recording, as his lad's band (all 18-19) are going into a 'proper studio' for the first time to do some recording (3 tracks over the weekend) and he wants to make sure they get best value from their hard earned. I've been through the obvious like - tuning, timing, turn up on time with all your kit in good shape, and very well rehearsed and clear on what you are looking to get from the sessions, don't get pissed the night before etc. [b]Anything else? It's a 2 guitars, bass and drums 4 piece - a bit Athlete/Kasabian style and there are pretty good for a gang of youngsters, albeit very inexperienced.[/b] [/quote] Be reasonable with their expectations when they have someone else..who hopefully knows waay more, telling/directing them and when they realise what they all really sound/feel like when under such a potential microscope...? Embrace it as something of a process/journey and something they want/need to go back and do again..all the while, learning just a little bit more. Don't expect miracles but if they are proud of it, then job done. Next time, raise the bar again.. etc etc etc

[quote name='TimR' timestamp='1425497954' post='2707975'] Pop is short for popular. No point in playing tunes that aren't popular. I don't agree with JTUK apart from the point he makes about poor bands going through the motions with badly played tunes. I've seen too many bands knocking out bad renditions of 'popular' tunes to a drunk audience while looking at each other as if they've been caught stealing candy from the baby. Lots of people on BassChat say they never practice as a band as they gig often enough not to have to practice 'the same old tunes over and over again'. . [/quote] A poor band is a poor band is a poor band. There isn't much you can do about it..apart from don't be in one, or don't go and see one, but being that anal gets tiresome... Sometimes, it just is what it is, for your own good reasons, but by the same token, no one is immune. If no one goes to the gigs, it is funny how the bands always blame the punters..whereas I think punters aren't always so stupid... If you ( the band ) miss the mark, take a look closer to home. If the band is good and gets the song across, I think the audience are somewhat open to be entertained/educated. Whatever a band has..it needs something, otherwise it is just notes.. and too many bands just don't get past that so they have to take their chances with any flak that might come their way..??

[quote name='leftybassman392' timestamp='1425493628' post='2707927'] Hang on a minute... this is another one of your definitions isn't it? [/quote] Of course it is... but then I do have a good handle on it, even if I do say so myself

Agree, Bb major is your common ground. I'd favour Gmin ..simple but it depends how you dress it up..

Difficult... How long have they got in terms of hours, what are they trying to achieve and to what standard/to what end.. Are they good enough to get live takes as a band or will they need to be play solo...? Will the studio be able to do fixes/overdubs/drop-ins and what time can they allow for that. Outline a time limit for each process,, i,e drums, bass, solos, vox, BV/s etc etc and make sure they understand what a time limit actually is...? Is it fair the bass and drums get 3 hrs total and the gtr gets 3 hours for solos..etc etc ?? Do they also go for a compromise finish or do they go back and pay more to get it it right if/when out of time...?? Do they understand the mix down process and how long it will take..? Are they willing to treat this as stage 1 learning curve or do they have other ideas..?

Plays loads and get the one with the best B string as quite a lot of them are woeful, As always, the B string defines a 5 string.

Struggling to hear what tho... ? any bass at all..? If you think it sounds bad then, what do you think it will sound to the audience..??

There must have been something 'firm' about the comms otherwise why 'hold' it and then decide to 'un-hold' it 3.5 hrs later?

[quote name='Iain' timestamp='1425166381' post='2704725'] .......................... I've been trying to analyse my playing - trying to understand what I do so I can see where to improve and it's quite tricky... If you're concentrating on what you do bad habits don't manifest, just when you're not paying attention! I have noticed that I quite often swap between one and two fingers, particularly on fast 8th and 16th parts. [b] I've also noticed I tend not to do the 12121212 but a more random pattern depending very much on where I want emphasis to fall using the middle finger for harder notes.[/b] For really fast stuff I ten to just use the index finger up and down like a pick. I guess the key thing is to do what works for you as a player without getting too hung up on technique unless you find you can't play something properly. [/quote] On a strict 8 pattern, you have to be so precise using both fingers so 1,2,1,2 it has to be..otherwise it is a mess. Even strict rotation between both fingers will easily sound odd unless you really have it down... which too many finger style players don't. Using 1 finger or double stroking may get you round this..and it is legitimate but then it might impact on your technique at some later point with faster 16's.. I'd really recommend using both fingers to students and play it very strict and regular...almost as an exercise...and then use the 1 for the sound, but not because you couldn't play it otherwise. Dakota is an example where you should be able to play alternate fingers but you might go to 1 digit ONLY for the more regular consistent sound. Check out the next band you go see..they'll very likely do it... and see how rigid it is..or should be..??

If you want to do it with any speed in the note you will have to get all fingers down and it helps if the thumb doesn't grip the neck at all... I take it off completely. It is harder to do horizontal the closer you get to the nut... Vertical works for slow...but horizontal is the only one to use for a speedy vibrato, IMO. and that is the one to concentrate on..

[quote name='mcnach' timestamp='1425555850' post='2708493'] The industry is a very traditionalist one? P&J have probably been used the most compared to any other basses, perhaps purely because they got there first and grew fast. Now they self-perpetuate. They work and it's a sound people are familiar with. However, in 2015, a Stingray is not exactly the new kid on the block. Stingrays work too, and do it very well. There's a reason you can find a Stingray in any music genre [/quote] There is a very good reason why people use singles A LOT.. and by people who could could pretty much justify/afford any bass they care to choose.

Berg and Aguilar supply very good covers which far out class the offering from the likes of Roqsolid, but then they are twice the price. A thin covering typical from the budget offerings stops a few scratches and that can be all you need if you are very careful loading your stuff so you pays your money..??

[quote name='big rob' timestamp='1425553311' post='2708454'] Pete i have the 3 eq stingray HH, any advice on how to eq this bad boy. Iain my rig is much larger than there silly combos also but i also want to retain my hearing for a little longer :-). I really am so glad that others are struggling with this. You try these things at home and they sound so wrong, but i suppose its taking the time to make it right in the mix that counts, otherwise gigs will get boring with just me in my front room and a little squashed. Thanks again all Rob [/quote] A MM bass can have a very powerful full sound as well, so you might not be immune from the overall mud argument either. If I was a gtr and was being told that my twin HB's were encroaching on a band mix, then I'd be thinking it a bit rich coming from someone using a MM...? There is a reason why P Basses and Jazzes are the workhorses they are across the industry..?

Another one of those 'wish I haven't started this thread' threads.. He offered to buy but still hadn't confirmed he was going to buy or pay.. so on what basis did you see fit to 'hold'..??