Mykesbass

[quote name='yorks5stringer' timestamp='1443479663' post='2875194'] You've missed a year, nothing new to report on here...a few have left and a few have joined. Welcome back! [/quote] Yep, Flea is still better than Mark King, 10s sound the same as 12s, 15s and 18s, and we still don't know which bass is best for metal. Meanwhile, this man ^ has created a monster thread which may take you the next year to get through!! Welcome back, and great to hear your good news!

[quote name='Maude' timestamp='1443464333' post='2874980'] You'll have to excuse my ignorance here as this genre is most certainly not my cup of tea. Are these songs generally looked at in the same light as all the 'rock cover band' standards that all pub audiences love but most folks on here recoil at the very mention of, dakota, sex on fire, mustang sally etc? The way the Jazz standards have been described above makes them seem like they're the same old same old that every other jazz band churns out. Not looking to cause trouble, genuinely interested in how they are regarded. [/quote] It is actually a very good point you raise, and I don't think it should cause any trouble. The biggest difference, IMO is that the standards are songs written by songwriters for general consumption. These were sold as sheet music - topline, chords and lyrics - sometimes a more involved piano arrangement. Sales of sheet music made up the first pop charts, so it was very much encouraged by the publishers for as many performers to perform their own version of the song. The big change came once the Beatles made it essential that bands wrote their own material. From then on, the final recorded version of the song, rather than the bare bones of the written sheet music became the template for others to copy, which is where I feel the difference between a Standard and a Cover lies. Sorry about the ramble

Just dug out Streetlife album on vinyl and now listening. Very sad news.

[quote name='Bass_Juice' timestamp='1443199560' post='2873092'] Last minute addition here will bring along Lakland Bob Glaub, Darkglass B7k & Duality, Axe Fx II, EBS 2x12 See you all tomorrow [/quote] There you go, all back nice and even - and some nice gear too!! (feel much better now)

Sorry folks but a last minute cancellation here - I've just been asked to referee at my local rugby club (guess all the other refs have cried off to watch internationals). Can't let them down as they can't play without me so would forfeit the match. Was really looking forward to this and thanks Nick for organising. Will get there one year...

[quote name='dood' timestamp='1443188055' post='2872963'] ok, 130 [/quote] See, some of us do pay attention (I really need to find something better to do...)

Next they'll be settling the Flea/Mark King debate!

[quote name='dood' timestamp='1443185449' post='2872917'] What they need is free access to over 100 high definition bass gear review videos and write ups *cough* Guitar Interactive Magazine [/quote] What! 30 of them been deleted already?

Actually very effective (IMO) on 6 string guitar but I wouldn't have thought it would be very noticeable on bass.

[quote name='Cato' timestamp='1443121551' post='2872476'] Sorry, I didn't mean to retread old ground. I also think I probably got the title of the thread wrong. I was just a bit suprised that one of the biggest songs of the last few years had made so little for one it's co-writers via streaming. I think your points pretty much sum up the catch 22 that non-'name' musicians are finding themselves in with regards to streaming services. [/quote] Didn't mean it that way at all, and it is a valid question to ask. Plus the story keeps cropping up. I just wanted to give a different perspective to it having done my time working in record companies and having a good working knowledge of artist and writer royalties and payments. found the thread - here's Ambient's point about his earnings and my response suggesting that it is more closely related to airplay than physical sales, and therefore the rate actually not being that bad: [color=#282828][font=helvetica, arial, sans-serif][size=3][b] [url="http://basschat.co.uk/index.php?app=forums&module=forums&section=findpost&pid=2817769"][/url]ambient, on 08 July 2015 - 07:59 PM, said:[/b][/size][/font][/color][color=#282828][font=helvetica, arial, sans-serif][size=3] If a song is played on the radio, Radio 1 or Radio 2 whatever. Then both the songwriter and and band (including the musicians playing on the session), get a royalty paid to them. So what's the difference between that and someone listening via a streaming service ? This is a screenshot of my CD Baby payments page. The amount I get varies enormously from as little as $0.0008 per play, to as much (sarcastically) as $0.010 per play. They owe me 42 pence, which I'm unable to withdraw, because it's below the withdrawal limit, kind of annoying, how many other 42 pences are they sitting on I wonder ? [url="http://basschat.co.uk/index.php?app=core&module=attach&section=attach&attach_rel_module=post&attach_id=195908"]Screen Shot 2015-07-08 at 19.50.16.png[/url][/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif]It is all very speculative, but this could become the new model for the equivalent of radio payments. Radio 1 pays about £40 a play. This will go out to around 4 million listeners. Effectively this means you get 0.001p per listen.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]The big difference is that radio gets to a wider audience who haven't chosen to listen to that track, whereas spotify will make suggestions. Long term this could become a viable model for musicians, and is certainly better than the blatant piracy that kicked the whole problem off in the first place. [/font][/color]

This discussion kicked off on here a couple of months ago, and I worked out then that Spotify payments are actually quite good in comparison to radio plays per person listening to your track, The problem has arisen as artists are looking for streaming revenue to replace physical sales but there just isn't enough money being generated from streaming customers to make this happen. If Spotify put their prices up people would stop paying and go back to file swapping/sharing and then the writers and artists would get nothing.

[quote name='KiOgon' timestamp='1443080771' post='2871942'] [b]Xergio Córdoba - didn't he used to work for Volkswagen? [b] [b][b] [/b][/b][/b][/b] [/quote] Yes, but for their Spanish subsidiary:

[quote name='tauzero' timestamp='1443027376' post='2871639'] You do mean the awful acoustic version rather than the masterful electric version, don't you? David Bowie, there's another one. [/quote] HaHa, one man's masterful electric version is obviously another's dreadful, tuneless cacophony

Is it always the words that make it evocative - I'm just humming the opening of Nilsson's Without You and can't think what the lyrics actually are, but the way the melody draws you in to the big build up, to me that is just as evocative as the words themselves.

Up The Junction - but the evocative part may be a South London thing: "I never thought it would happen for me and this girl from Clapham"

Oh, and of course Clapton - however did he allow Layla to be recorded, let alone released?!

[quote name='Dolando' timestamp='1442902388' post='2870293'] Thanks, I am a little further than this now, so will add some [b]pore[/b] photos when I get a chance. [/quote] Wow, they will be close ups!! Great looking build, will be keeping an eye open for updates.

One of the biggest disappointments of my years in record companies was turning down a Ray Charles album (turned out to be his last) that really needed some filtering. Horn arrangements were all played on the cheesiest of synths. I suggested to his management that we'd take the album if we could put real horns on but they said they couldn't relay this back to Mr Charles. Album came out a few months later and got slated for the awful horn lines!

[quote name='epic576' timestamp='1442836507' post='2869820'] It was £100 with a trade in and I had to barter down to that. It wasn't anywhere near in the best of nick, advertised at £300. I've found a luthier relatively near me (Bristol area ish) charging £25 not including pickup for routing and wiring. Like I said before, I have no intention of selling this bass so the 'butchery' some may call it isn't too much of an issue about the resell value. About the respray, I don't think I'll bother if it's just the route that'll be bare wood. [/quote] Fair enough - sorry, from your first post it almost sounded like you were doing this as it was only a cheap bass rather than it being a keeper.

£100 for an MIJ? Sounds to me like a bargain, and I'd have thought the bass would be worth a fair bit more. If you are going to have to pay for routing, respray, pick-up etc., wouldn't it be better selling the P as is and with the money you get for it and the money you would be putting into the mods you should have enough for a nice PJ?

C'mon, this is included so must bump the price up significantly: [color=#333333] "Teach yourself to play bass" starter book w/CD"[/color]

[quote name='timhiggins' timestamp='1442783742' post='2869515'] That Atk from GAK with the maple neck looks like an Atk 1200 with the neck pick up I dont think the 200 or 300 had neck p.u. or clear pick guard [/quote] Looking closer, the text reads that it is black! Then, clicking on the natural option the bass has the right pick-up configuration and a rosewood neck.

[url="http://www.bass-guitar-museum.com/bass-14753-Ibanez-ATK-Series-Left-Handed-4-String-Bass"]http://www.bass-guitar-museum.com/bass-14753-Ibanez-ATK-Series-Left-Handed-4-String-Bass[/url] [url="http://www.gak.co.uk/en/ibanez-atk200/45307"]http://www.gak.co.uk/en/ibanez-atk200/45307[/url]

To be honest, the only two I could hear any difference from were the Tonecraft which happened to be my favourite and the Neve which sounded just a tiny bit thinner/weaker than the rest. But then we are talking such crazy tiny amounts, and yes, your MarkBass and Mindprint certainly didn't disgrace themselves. Nice, concise demoing style by the way.

[quote name='KevB' timestamp='1442334094' post='2866149'] It was, one of those 'contractual obligation' releases recorded on the tour to support the 'White Fourway Mains Splitter' album of the previous year. We won't see the likes of Black Spaghetti again. I think Tony Goggle might have been in one lineup. [/quote] Tony Goggle - great reference. A man we don't hear anywhere near enough of these days!