JTUK

[quote name='discreet' timestamp='1404824480' post='2496047'] When I was in a covers band I insisted that we play the songs as closely as possible to the original recordings as I feel that's what the audience expect and what they want to hear, for their money. It was suggested on one or two occasions that I simplify or otherwise change a bass line on one or two songs (essentially to make it easier for the stupid lazy bastards who couldn't be bothered to learn the material properly in the first place) and I always refused, point blank. Anyone who wants to change a song that has a seminal bassline in it played by a world-class bass player in a well-regarded band on an international hit known to millions of people because he or she thinks they know better themselves is nothing more than a pissant in my book and should be lashed until they drop. [/quote] Not for me... I'd wait until I heard the world class player and then the 'world class player' trying to emulate the world class player's lines along with the world class drummer etc etc etc... If it works, it works but if it doesn't then you just look... and sound... lame. You should really know the difference.

Low and light, but that also depends on how hard you are going to hit. If you play thumb under then then lighter but many copy Flea and hit hard so you would need the action higher. Another reason I say light is because you are going to give your hands quite a bashing over 30 years or so so that might help preserve them Watch any video of Louis J and Flea and you'll get what I mean... Whose playing do you like..??

A shame that pretty important musical history can get so messed up. It is entirely possible that players really believed they were on a track.... but they can't know how many tracks really exist or were recorded. Same as Steely Dan..but they seemed to have better control of who did what but Purdy tends to get credit for Peg when it was Marotta. This seems to be a public assumption though, not Becker or Fagens. When you rotate bands because you didn't like the end feel or whatever, that is one thing, but throw in the more basic recording technology on the Motown era where the track wasn't fixable..then it is understandable documentation gets mixed up. I assume the players like Babbit got paid for the hours they worked regardless of who made the final cut..

Sure, you can outsource everything... then nobody works local anymore. Go too far with that and nobody can afford anything

I think pre EB MM's are likely to be much better basses than a LOT of '78 P-Basses but that assumes you want the MM sound. Go play and hear the one you want to buy. I think the MM will be the better bass but there are a lot of people who only see 70's P-Bass - must be worth a mint..??

Hopefully both programs will tget another showing. Sometimes Sjy Arts gets a theme going and repeats it quite a bit. Other times, it is a one off and disappears without a trace. Deep Purple were my formative years at one point so that piquied my interest and as much as Blackmore was a star in a very decent line-up... he was qute awful on the video. Not sure what you'd put it down to... I think he had just seen what Van Halen could do ...but it wasn't working The sidemen of Motown got no recognition at the time, and people are only just know familiar with Muscle Shoals and the Funk Bros..et all... but were oblivious at the time. The is a decent program about Fame doing the rounds and that is worth seeing. You get to see and hear Duane Allman as a sideman when he could get a gig in L.A.. all sorts of good stuff. Loving Sky Arts for little things like this.

[quote name='essexbasscat' timestamp='1404683466' post='2494760'] I did wonder if it was a 58, I've had bleedover city at gigs with 58's on stage. Gone over to Sennheiser now, good so far. Thanks for satisfying my curiousity BB [/quote] Which is why a lot of people avoid them esp for lead vox... If you are struggling, they do for an O/H

I rate QSC and so I would be onto their support and get the exact part. They have a 7 year warranty as well...which you might want to investigate.

[quote name='bridge' timestamp='1404719521' post='2494882'] Guys, Ok , I admit, I am not a brain surgeon, I am not a rocket scientist, Petes advice fixed it! end of.!Yes, I should and will get to grips with basic set ups, and have learned a lesson about leaving a bass in a bag, against the wall. Jesus, if I knew everything, I would not have asked, or done it in the first place! Consider myself severely admonished!! [/quote] Not a problem... this is all stuff we get to know along the line. There are little tricks that can rescue a bass... before you need drastic measures.. so intonation, action and neck tweaks..plus pickup height etc etc are all part of it. If you change strings and/or gauges you should be aware that parameters need checking. A lot of necks can move... some move anyway just through a change of temp and seasons, even if properly stored and others can be rock solid, come what may. Neck profiles can be wildly different and some wood isn't as seasoned as it should be, for various reasons, so if you change anything or haven't checked things out for a while... this is a 2 minute run-thru. If you use this opportunity to get to grips with the workings of a bass, you'll get confidence to get the tools out should anything go 'wrong'

[quote name='stingrayPete1977' timestamp='1404716163' post='2494846'] No it isn't I agree but that's not what the OP asked is it, leaving it in a bag or taking it to the Sahara desert won't move the string height or the intonation screws so why suggest to the person asking to start messing when they obviously are not a bass tech and all the bass needs is a truss tweak? [/quote] Because they obviously need to get to grips with little things like this... and any bass you leave up against a wall in a bag for months is just the type of bass you can try all this stuff out on...

Fair play...

Sky Arts had a Deep Purple theme most of the night so I was torn between the two. Unfortunately Ritchie Blackmore was atrocious for the most part on the 1984 line-up but much better on the later tours. I'm surprised they gave him a second chance tbh... but anyway, that won out my evenings choices. I figured I'd have more chance they'd run the Motown program before the DP films..

[quote name='Hobbayne' timestamp='1404657873' post='2494456'] Hmm, The cynic in me believes David Gilmour thinks he might sell more copies of his new solo album if he releases it under the Floyd banner! [/quote] Tend to agree but then this isn't the worst tactic as I thought latter day Floyd was all about Gilmour anyway and it would be a shame if he stopped playing live and playing Floyd numbers, IMO.

But is no biggie either way... it isn't rocket science. Maybe the OP will need to get to grips with basic set-ups if they leave basses in bags for months leaning up against a wall. I'd be more surprsed if the neck hadn't moved .. I'd say he is lucky to get away with such a quick adjustment...

Can't see the problem with messing around with bridge at all. Doesn't take long to do height, intonation, neck and a string change anyway.. Depends if you feel confident about what you are doing....

Yep, sorry about that,... I do feel that a lot of people do or should have a pretty good idea how their bass will sound 'uncoloured' so therefore may well just shy away from amps that they deem too coloured or not returning a sound they expect when running 'flat'.. An extreme case in point would be old TE, and certainly H/H and Carlboro which were the amps that were obtainable in my formative years as the SS revolution kicked it. And they were very coloured IMO.. The reason you'd know how your bass sounded would be that engrs tended to DI you straight thru the desk as this was the cheap and quickest option in budget studios... and mic'ing the bass amp/cab just was too much of a hassle for a few reasons so you ended up with a very clean bass signal through the cleanest signal ..by definition..in the studio, the Studio monitors, as well as headphones. That in itself was a horror lesson when you first heard yourself back solo'ed.. I am happy we have 500w amps in abundance as I play with powerful drummers and I play very lightly...this has been a god send to me level and playing wise...

[quote name='molan' timestamp='1404642516' post='2494321'] Janek only ever seems to use Aguilar - that does seem to be a brand that a lot of gigging pros use. [/quote] Quite understandable as their big amps are the real beans, IMO. Well and truly stolen Ampegs clothes by doing vintage vibey thing better, which is something your good friend will say as well.. The EQ is subtle and as long as your bass sounds good, you don't need a powerful EQ stage, which is a throwback to pre semi para EQ's stages.. and all the better for it, IMO. Mappings are ok in amps and perform a function for some... but the DB amps are matched very well with the cabs to an end goal... and there should be no reason why you do anything other than spend a while setting them up and there on after, complete plug and play... IME. Not a fan of class D amps I've tried. Not that I wouldn't have/buy one... but it wouldn't do the more discerning or important gigs as I have other options... I'd say the same about NEO as well... Can't explain it... but its there, IMO... My smallest amp is 400w into 4 and it is my practice amp at home...

I have played with some name drummers and they tend to vary quite a lot in what they can do..IMO.. but people seem to concentrate on the name and the C.V more than they possibly should. When you come across one who was really at the top of the tree, then you should be able to see and hear what they had...even if they don't quite have it anymore.....'quite' being relative.. Class is permanent tho..

think he has had words with a couple.... seems to be a few missing faces these days?

apparently it does run at 2ohms...most surprised.

If you were thinking of running 2 x 4 ohms loads....can the amp run down to 2..?? I assume it must be able to ..otherwise why a 4 ohm 210..?

[quote name='Mattmit' timestamp='1404496388' post='2493275'] I think we can all buy whatever we want, I don't think anyone needs to earn the right to play an expensive bass and you dont outgrow an inexpensive bass. [/quote] I think they do need to earn the right... but then nobody can tell anyone h6w to spend their money. And I think the point is more about how capable the bass is as to how easy it is to outgrow one... Too many cheaper basses are firewood, but that is not to say you wont find a decent one... or that it does all it needs to do. By the same token it is not impossible to find poor firewood basses at £1000-1500 either... but you'd hope they would be able to be set-up well enough to negate this to a degree...otherwise, I can't for the life of me seeing that they are charging those prices for...

[quote name='chris_b' timestamp='1404606439' post='2494171'] I liked them all.... Check out 3 drummers ..... and no bass this time Steve Gadd, Vinnie Colaiuta, Dave Weckl [media]http://www.youtube.com/watch?v=3_o0nlYigVo[/media] [/quote] In the solo sections, 1st round to Stevie, IMO, which in that company is astounding, and then he sets up the whole barrage for the other guys.. Surprising as I din't think Gadd still had what he had 20 years ago, and that is purely an age thing and playing drums is FIT work. You can't expect someone at 60 plus... to play with the energy and whatever else as someone 20 years younger...

Dave Floegel. I liked his snap and fluidity between hands ( always a good pointer for me ) and thought he scored highest on most grooves. He got a few wrong but his 'wrongs' were better than the other guys wrongs. In this context, I liked the middle guy the least most of the time. I thought McKeague was too busy...and I understand this was a showcase which almost demanded that but some of them didn't work for me. Maybe the kits should have been bigger as I doubt any of them would do her gig with those kits and that would rather take away a bit of their amoury. But..as a token exercise...good fun. I wonder which one she would choose. I'd guess Gary Cook strangely enough.

Local legend .......everyone knew him and had their own story as such a big character. he had been ill for some time.