4 Strings

I'll go along with escholl with 2 comments. If you've ever heard a Fender Telecaster, Fender-Rhodes piano, even a Fender Precision bass guitar ('course you have!), you'll come to the conclusion the designer/champion behind these instruments was a genius and knew a bit about sound. If he wanted to cut treble and a ceramic cap did it in the wrong way then I'm convinced he'd have used something else. I suppose someone might be able to tell the sonic difference, if there is one, but would it actually be better? Secondly, I have no experience from which to pull, but I thought the breaking in of speakers was to make allowances in performance expectation for the improvement in suppleness of the suspension, settling of the cone etc. The Barefaced man appears to believe speakers improve significantly after some use, he appears to know a bit too and is likely to have had the opportunity for that experience. It's also said that amps improve as they warm up, my Audiolab hifi amp definitely does so, definitely warmer, deeper bass. Can't explain it though.

HiWatt proper certainly is, anything with Maxwatt on is Eastern in all respects. Similar to the proper stuff in badge and colour only.

Just a quickie about Speakon/Jack leads - plug the jack end in first, then you get the advantage of avoiding the little shorting episode of using jacks as the circuit remains open. If you plug in the Speakon end first you may as well have two jacks in that regard. If you always plug in your speakers before turning the amp on it matters not either way. While I have never pitted, cooked or had any other problems with using jacks for speakers (still do) I did get a real kick once from a jack lead out the back of a Hiwatt, years ago. More than 120V from the back of that thing!

[quote name='nick' post='899373' date='Jul 19 2010, 08:35 PM']Though Jamerson is synonymous with Motown bass; Bob Babbitt, Tony Newton, Wilton Felder etc... are also worth checking out.[/quote] All good, all different. Babbitt was more 'perfect' in his accurate repetition throughout the song, Newton was rather more whacky and, in my opinion - although I've not heard much of his playing knowingly - less groovy than Babbitt (check out the difference between the US (Newton) and UK (Babbitt) versions of tears of a Clown) and Felder is great, plays with a pick, excellent timing, like Jamerson. There's no ranking of who's best of these guys, they are different.

Have a dig about here, lots of JJ info and lots of isolated and semi-isolated tracks. Really interesting stuff. [url="http://www.ricksuchow.com"]http://www.ricksuchow.com[/url] The password for the tracks is well known but I don't think it hurts to send a request to Rick with a compliment or two to keep him encouraged in his excellent site. If you really want it now pm me, but its also in another posting in these pages.

Don't know a lot about Zadowskis, is that neck very broad or is the body small?

Is this 'roasting' an over done way of reducing the curing time for the neck wood? Sounds cheap and cheerful to me, looks great, and so is marketed as a boon. Anyone actually know about this?

[quote name='NJE' post='902855' date='Jul 23 2010, 09:38 AM']..., too many rock/metal bands and not enough funk.[/quote] Oh, thank you for that, thank you!

[quote name='XB26354' post='902646' date='Jul 23 2010, 12:39 AM']... Stanley was and is great but came across to me as souped-up funk. Never liked his bass tone or his tendency to muck around with piccolo bass (who's the bass player Stan? Jimmy Earl!) He has had a lot longer to grow and change, and whilst I don't doubt for a minute that his playing was top notch, as others have said he hasn't really gone anywhere stylistically. And that's without any (perceived) mental disorders... Still, each to their own.[/quote] There was very little at Ronnie Scott's which related to the 70s/80s stuff to which you refer. He did some solo swapping right at the start and gave us a bit of that on the electric but apart from that it was down the line jazz, mostly on the upright, with some of the best musicians in the world. I honestly can think of no-one who could play like he did. Not even Jaco. We saw the Neil Cowley Trio there a little while ago and really enjoyed it, we're fans, knew what we expected, received it and better, and bought an album or two and will remember the gig for a long time. This was a totally different experience, we were left with our jaws on the ground. Not just for the technical stuff but the beauty of the whole thing. I don't expect an equal musical experience for a long time, if ever. Please, get out to see him if you possible can!

I must admit, I have never seen how the paint finish could 'let the sound out' of an electric bass or, even if this was possible, how this would effect how the strings vibrate over the pickup and, even if it did, how it would be a good thing seeing as the rest of the construction is trying to keep the sound in (massive bridges, stiff necks, hardwood bodies etc).

Like you, I can't remember the actual pieces, only that the first initial round of swapping solos with the electric bass appeared to be based on the tap dance from 'If This Bass Could talk'. There was another from RTF but I'm not familiar enough with their material to help with its title. I wonder how much he varied it during the week. We went to the early one on Friday, a friend went to the late one and they seemed pretty similar in pattern at least, if not material. And, indeed, not forgetting Hiromi. But then, the standard of the other players (including the Californian drummer with large shades and a lollipop stick rolling around his lips!) was such that Hiromi blended in well! That's not to say she was not outstanding but I also really liked the playing of the Israeli youngster on the keyboard and the drummer's display of talent expanded through the set. Elite stuff all round. Wish it was videoed.

Agreement with all the above with an enthusiastic +1 etc. What I love about his playing is that they are actual bass lines, very little just playing the root etc, and, invariably, those lines are hummable. In addition their influence on the actual song was crucial, they made the sound and the song. I feel sure the timing for the orchestral stabs in Diana Ross's version of Aint No Mountain were initiated by the bass. I used to practice to Jamerson's playing when I was young without knowing it was anyone in particular, just the quality of playing I aspired to. I feel so sad he's not still around, like many I feel true affection for the man and yet all I know of him (apart from the stories in the film) is his playing. Certainly one of my biggest influences and playing I know I could never properly mimic. What I would have given to have shaken his hand.

My mind was expanded when I saw Victor Wooten at the Digital Village thing, what a musician, what timing and what a fella. I have always thought Stanley Clarke to be the 'master' though. Perhaps the best electric bass player ever. Having seen him play with his band of youngsters at Ronnie Scotts last week I realise he's not on the same planet as the rest of us, it was, I think, one of the strongest and moving musical experience I have ever had. I would have been disappointed if he played only the first third of the set on electric bass and the rest with his upright, however much I enjoy the sound of an upright and watching it being played well. This is exactly what he did and I am blown away. He is an absolute master of that instrument, I don't just mean in terms of technique, speed (even slapping!) but so musical, such feeling and beauty. It was truly wonderful. As an aside, his right hand and fingers are incredibly strong, even thumping the strings he makes it look like a graceful tickling of the the strings. Had to tell someone!

[quote name='OldGit' post='901153' date='Jul 21 2010, 06:50 PM']I agree, a tastefully applied small amount of slap can add to a tune, too much can spoil it. IMHO Mark King is in a different department totally as he is playing the instrument as tuned percussion.[/quote] Yes, he does have that skill, that's not all he does though, is his finger playing and musicality underestimated?

[quote name='stingrayPete1977' post='900472' date='Jul 20 2010, 08:59 PM']OK lets put it another way then,Does anyone use Rotos on anything designed in the last 50 years!?[/quote] Yup, my Jaydee sings with them, hifi tones abound. Also use them on he Stingray.

Isn't someone going to say 'if you want it to sound like a Jazz bass you'll need to use similar components and so use ceramic'? The OP has a good question, like you I know nothing about this sort of thing. How about asking the supplier people to see why they offer the choice and what they recommend for your use? Capacitors are certainly important to hi-fi enthusiasts, how important they are for guitars, others are already advising.

Yeah, Roto-freak here, Swing Bass 35s for many, many years. Always had a satisfactory sound and life, tried some others (find it an expensive exercise!) but gone back to Swing Bass every time. I would like to try out different strings but end up chickening out due to the cost. However, I am very happy with Swing Bass and feel no great need to change.

Definitely believe effort to entertain is required, but I always really enjoy seeing musicians 'lost' in their art while playing. Norman W-R being a nice example. I will travel to see musicians like him, to see facial contortions and almost involuntary actions. Players being into the music invites me to take it seriously and be into it too. On the plonker side are, for me, those who love the way they look more than the way they play and the clothes and posing show a wafer thin character. Having said that I do love watching Pete Townshend, Jimi Hendrix etc - but somehow the posing/show is integral with what's being played, not just standing with a 'look' (and they can play a bit too!). I prefer even the most plonkerish posing to staring at feet.

Valves in the pre-amp don't need to have their bias reset when changed, and they are a push fit. If you're really worried, just carry a spare (£7-8?) as you would a fuse. Less likely to blow than a fuse which is there to protect it. In general valves have more tolerance than their oppo transistor, its just that being made of glass they have a bad reputation.

Trace Elliot copy but in a different colour isn't it?

Its nice that the Hartke 2500, at £209, is listed as a 'similar product'!

Never for live bass, realy would feel frustrated by it. Almost always for recording, but always slight and just use the simple compressor n the amp (HA3500). Recording is quite different to live, vocals and some guitar get slightly compressed if I'm in charge for the typical 'keep the levels up' reasons and control peaks. If I can hear it compressing I turn it down.

[quote name='yorick' post='888293' date='Jul 7 2010, 12:24 PM']These should do you a reat.... No nned to change the strap buttons!!! [url="http://www.stringsdirect.co.uk/products/823-jim_dunlop_lok_strap"]http://www.stringsdirect.co.uk/products/82...unlop_lok_strap[/url][/quote] The 'Planet Lock Ends' look perfect. Wonder how they operate in action.

[quote name='skychaserhigh' post='880535' date='Jun 29 2010, 12:08 AM']I had one of these cables and the same thing happened to mine after only a few months. Eventually the silent neutrik connector packed in too. Load of crap and waste of money in my opinion. Dave.[/quote] I've just got into the 'Silent' connectors, apparently tested for umpteen million uses, but one of mine makes a loud 'bang' when connected. Others are still good. Any other experiences with these?