The Funk

Well, the other odd thing about it is the fact that there are no references on Google to this Golden Ear chip they claim is used in most high end consoles. It could be a clone or it could just be a load of BS. Still, I like the fact that it'll fit in my gig bag. Now I just need to get myself an Acme B1 and I'll have my mini rig sorted: stroll into a gig with a gig bag on my back, carrying the cab in my hands.

Have I missed someone use the word "enharmonic"?

Alex, when you say "specs" do you mean as quoted by AccuGroove?

On most bass-related things, I've normally had to pay 22.5% tax total: 17.5% VAT and 5% something else (import duty, I think).

Any update on this? I've just asked a relative to pick one up for me in the US. I should have it next week. I will let you guys know what I think!

[quote name='Josh' post='155594' date='Mar 11 2008, 09:58 PM']1. Bernard Edwards - Chic (Think most of us will agree on that) 2. Bootsy Collins - Bootsy Collins Rubber Band 3. Jaco Pastorius - Weather Report and of course his own solo stuff. 4. Louis Johnson - The Brothers Johnson 5. Larry Graham or Stanley Clarke - Sly & The Family Stone/Graham Central Station, and Clarke was with Return to Forever. To be honest for most if not all of the guys listed above, the 70's was their pinnacle.[/quote] I love your list but I'll leave out Bootsy and Larry Graham 'cos they both had huge success in the '60s too. 1. Stanley Clarke 2. Paul Jackson 3. Jaco Pastorius 4. Louis Johnson 5. Bernard Edwards

Nooooo! I missed it!

"Why does his guitar have 4 strings?" -> answer "to give the guitarist a sporting chance" or "two of his strings serve a purely cosmetic function" "What's a bass" -> "something I'll hit you with if you ask me that question again"

Isn't the damage already done now?

[quote name='BigBeefChief' post='153970' date='Mar 9 2008, 04:10 PM']I'm just trying to figure out which posts you think have been written to deliberately wind people up?? Do share.[/quote] [url="http://basschat.co.uk/index.php?act=Search&nav=au&CODE=show&searchid=95099e8ea2341fec365b5fc607b24eb1&search_in=posts&result_type=posts"]http://basschat.co.uk/index.php?act=Search...sult_type=posts[/url] Sorry - completely uncalled for and unhelpful but couldn't resist.

Well, it's hardly an inviting welcome to the forum, is it? Is he going to bother looking at any of the other threads and contributing there now? BBC - to quote Billy Joel, "don't go changin' to try to please me".

I still like to use some on recordings from time to time. On recordings you can actually hear the bass and the effect - and it doesn't all sound like mid-range sludge. Another problem is that all the settings I have for effects in the studio don't necessarily cut through live. So I might get the balance between keeping the low end and having the effect sound cool in the studio but live I have to choose between cutting through and keeping my low end. I'd rather have my low end and lost the effect.

[quote name='Obsidiandesire' post='153896' date='Mar 9 2008, 01:33 PM']My main gripes about bass is that it's grossly understated =/ I like to be LOUD (which i know can be bad sometimes, so I try to turn down) and I like to show off but I've not even been allowed a Bass solo in a gig yet with my current band. I had a good one at LIPA though [/quote] Who says you need permission? Drown out the singer during a verse. Or if you're in a less obnoxious mood, take one when your guitarist takes one.

[quote name='synaesthesia' post='153925' date='Mar 9 2008, 02:49 PM']Yes go get a USA one now, it's made with electronic parts from Malaysia, China and Vietnam.[/quote] Classic. I can understand companies wanting to reduce production costs - but how about reflecting some of those savings in lower prices?

Bloody disgrace is over the top. And I admit I've made a personal attack. I'm just annoyed that we've lost Janek Gwizdala through a combination of his not being able to handle legitimate criticism and the huge amount of rubbish in this thread that he's had to put up with.

I have a pretty large pedal board now - I don't take it to gigs anymore. It's just annoying when you're only playing a half-hour set. If the sets were longer, I'd take it with me. I do use it in the studio though. The trouble with live is that the overall sound out front isn't always very good - and I'd rather people could just hear my bass clearly than hear I'm using an effect but not much else.

[quote name='gwizmon' post='153823' date='Mar 9 2008, 10:10 AM']imitate then innovate[/quote] I've never agreed with this. I have a guitarist friend who started getting seriously into his music around the same time as me - his attitude was imitate then innovate. He's the most talented musician I know and he can immediately assimilate anything but the guy doesn't have any ideas. He doesn't write any tunes. I'd had a music teacher at school who'd said things along the lines of "have a go, mess around - get a feel for the instrument - see if you can get your ideas out". Obviously I did naturally assimilate a lot of things (my playing is a very simplified mix of Jack Bruce, Paul Jackson and Louis Johnson) but I'd always made a point of trying to write - even when I didn't know sh*t. And I made sure I didn't try to write something influenced by another piece of music. I agree with a lot of what Janek has had to say in this thread - although he's obviously a bit cheesed off. I also agree that people can rely too much on what they already know and not use their imagination to create new music: both people who have limited knowledge of what makes their music work and people who have a well developed understanding. I also think that for Janek to say that Bill Dickens is not a bass player or a musician is as daft as anything we've come to expect from someone as idiotic as BBC. Bill Dickens clearly is a bass player and a musician. Whether or not you like his music or playing is something else. On the issue of whether or not it is good for aspiring musicians to hear that a serious professional can spend up to 10 hours a day practising: it is common knowledge that Charlie Parker played 14 hours a day in his youth. If you're a young musician and you're wondering why you're not as good as Charlie Parker the amount of time you practice could be one of the factors. How can it be bad for a young musician to realise that? Personally, I haven't practiced properly since 1999 - and it badly limits my ability to play parts I've written and my development as a musician. It would also be good for the aspiring musician to hear that other side - but how can someone like Janek tell them that without personal experience of it? Surely that has to come from other people. Anyway, it's sad that Janek won't be posting on this forum anymore. It's good that people don't suck up to him but at the same time BBC is a bloody disgrace who scatters his brand of irritation across threads almost indiscriminately. It's much harder to avoid BBC's bullshit on these forums than it is to avoid BGM or Janek Gwizdala. I shouldn't have to stop using these forums or start using the ignore button.

If it had been a valve head, this would have been fantastic.

I haven't read the article and this debate isn't something I really want to be a part of. What I do want to say is that I like the fact that the author of the article and subject of this thread took the time to come to this forum and post responses. That's pretty cool.

[quote name='Moody' post='152867' date='Mar 7 2008, 08:52 AM']Scented candles?[/quote] Why am I reminded of The 40-Year Old Virgin?

[quote name='Doddy' post='152468' date='Mar 6 2008, 04:13 PM']My only problem with using familier melodies to learn intervals,is that it can become difficult to break away from. If you are improvising a solo for example,and hear a phrase in your head you don't really have time to think of 'over the rainbow' or whatever. I would advise breaking scales up into individual intervals-eg. I-II,I-III,I-IV...etc. That way you are hearing the intervals by themselves as opposed to in a song context.[/quote] If you're still using the song to help you hear the intervals by the time you're up on stage, you haven't had enough practice at home. I was suggesting that when you first start on getting the sound of an octave up into your head (while practising at home), you can use songs you already know as examples.

Listen hard to your favourite bass players or songs/bands with bass sounds you like and just try to copy them, then adjust to taste. There's no point getting 100 different sounds out of your rig if you don't like any of them.