wulf

Tuning in fifths will mean you have to relearn all your favourite riffs. That's not necessarily a bad thing unless you do a lot of playing in covers bands (or established originals groups where you are essentially covering your own material). Most riffs that span 3-4 frets when tuned in 4ths will require shifting up or down. On the other hand, if you have a spare instrument that is feeling a bit neglected, it wouldn't hurt to try it. At the moment, I'm persevering with tuning a minor third higher than normal on my six string. My rationale was that I rarely went below low D and played a lot of chords / melodies where slightly lighter strings and higher pitch would be a benefit. So far, it is working okay but even there I have to think harder to make sure that I start songs in the right place and to adapt riffs that previously relied on open strings. Wulf

I use the same set up (H2 for recording and Audacity for editing). My typical work flow for gig and rehearsal recordings is: EQ (test on a short section and then apply to the whole song or even whole gig) Leveller Compressor (sometimes ... judged by ear) Amplify For the amplification stage, I have decided that it doesn't matter if short, sharp bursts of energy (like snare hits) get clipped. I set an amplification level that allows the peaks to clip and brings the body of the sound near to maximum for the loud sections. One tip though - when recording, try to set up the H2 so it isn't too near the drums (or any other overpowering sound sources). Where you put it, which mic you use (front / back or both) and what they point at will make a huge difference. Getting a good recording makes the editing task much easier, even using a simple tool like Audacity. Wulf

I was moderately impressed with the ones I tried. The factors that put me off pursuing a Variax bass more seriously were: a) with similar gizmos (eg. Bass Pod) , I tend to get one sound and stick with it most of the time. I didn't think the expense of another bass was worth it for tones that I might only use a small fraction of the time I like playing six string basses and they only went up to five c) I was concerned that an electronics failure might leave me with a piece of junk; I suspect that getting Variax electronics fixed is more expensive than replacing a pickup. Wulf

Psst... don't tell my drummer but I often prefer playing without drums. On a good day, the kit adds a lot to the mix but it also tends to push up the volume. Drums certainly aren't essential to get some fantastic rhythm stuff going. However, it would help if you could find a bit of time to rehearse beforehand; the downside of not having your regular tub-thumper will be that all the parts you have doubtless carefully crafted to fit together as a whole ensemble will now sound a bit empty. Nothing that can't be overcome but it might be as well to reassure yourselves of that before appearing before an audience. Wulf

Yes - definitely try to play with some great musicians. Even if you can't find anyone locally, you can learn a lot by listening to and transcribing from recordings by others (and then thinking about what can be applied to your situation). Wulf

[quote name='bnt' post='257935' date='Aug 8 2008, 10:31 AM']In Japanese culture, there's a concept called [i][url="http://en.wikipedia.org/wiki/Wabi-sabi"]wabi-sabi[/url][/i]: the appreciation of imperfection, even the deliberate introduction of a tiny flaw in something that would otherwise be perfect. Actually, [i]wabi-sabi[/i] might make a good band name..![/quote] [url="http://www.last.fm/music/Wabi+Sabi"]Already taken[/url]! It is a neat name though. Wulf

As well as practise with a rhythmic reference (and make sure you are keeping in time with them - it is a demanding task if you are not used to it) try sticking to simple lines. For example, don't try to play a complex riff - just stick with the root note of the chord and a simple rhythm. It isn't that demanding and will often sound better than a more complex part (especially if, as mentioned, you haven't quite mastered your internal sense of time). Wulf

A friend of mine recently picked up a SWR Workingman's 12" combo from eBay for a very good price. I vaguely envied him as the only piece of gear I regret not having any more was my WM12. However, I don't envy the fact that, after a few days, he found the slow-blow fuse at the back went, as did the one he replaced it with. He hasn't got Internet access at the moment because that broke as well (another thing I don't envy him for! poor bloke!) so I said I'd ask around. Has anyone got experience of problems and solutions round this combo and fuses? Also suggestions of SWR amp experts in London / Kent would be great. Thanks, Wulf

That was probably Steve Lawson, Michael Manring and John Lester - I went to a London performance on that tour. Wulf

I'm interested at the "bad vibes" for Ashdown 1x15 cabs. I've got an Ashdown ABM Mini 1x15 which works very well. In the past, I've compared it with a range of other cabs and it stood up very well with a much tighter sound than myself and others expected from a 15" cab. Larger Ashdown 15's may be woolly but I wouldn't apply that description to my one. Wulf

First jazz gig with my Stagg EUB on Friday evening at a golf club in Coulsdon. I was very pleased with how it went and stayed on the upright for most of the evening. The one exception turned out to be the tune I mucked up most as I forgot that I had retuned my six string (DAGFBbEb) and so started in the wrong key. Doubly embarrassing as it was a tune I wrote although I think we covered it up pretty well so most of the audience probably passed it off as some more of that modern jazz stuff... Wulf

I'll second that - Audacity is a great choice for the job. Since I am normally also concentrating on playing I use other tools like equalisation, compression and normalisation to improve the sound as well. I tend to record a bit on the quiet side and then boost it up afterwards when I have the control to avoid too much clipping. Wulf

I am pretty sure that the bass I rented was one of the Stentors: [url="http://www.flickr.com/photos/wulf/2091035300/""][/url] It wasn't bad - it was playable, had a decent tone and was good enough for the purpose of giving DB a try out. Wulf

I hired one from Footes in London. About £100 for four months, I think. The hire fee can be set against buying the instrument if you decide to keep it. It was an okay bass but took too much space in my living room so I didn't keep it... I'm now very happy with my Stagg EUB. Wulf

I don't think anyone is suggesting only practising unplugged. As you note, that wouldn't be a good preparation for a gig. However, in my experience, even solid basses have sufficient volume to practise with unplugged, which is both a lot more convenient if you don't have an area permanently set up for practising and also does reveal nuances which can then be worked on amplified. Another option is to get an electro-acoustic bass. Again, it is a different instrument and won't cover all of the preparation you need to do for amplified gigs with another bass but makes practising a lot easier and thus more likely to get done. Wulf

If you can hear the notes you are playing clearly enough without amplification (quiet enough environment, etc), then it can be a good thing to do. It is certainly better than not practising at all and doesn't wind other people up with your repeated attempts to nail a passage or technique. It is also important to practise with your gear at a level more like you will be performing at but I often go unamped at home. Wulf

Bass. I often play in situations where I don't get to use my main amp rig for one reason or another but don't think I've ever done a gig where I've used my amp but not my bass. I do also tend to tote round my Bass Pod though, which can get some very good sounds out of a middling amp (or direct to PA). Wulf

It seems a bit pricey for what is essentially a keyboard, stripped down to page up / page down buttons and then made a bit more rugged. I'm also not sure quite how green it is when it requires you have a computer on all the time you are using it. I expected a little mechanical gizmo that would flip pages on a physical score! (although USB should have been a bit more of a clue). I certainly appreciate the nature of the problem. Wulf

Make sure that your agreement covers what happens if audience applause trips the sound meter. You don't want to be the ones facing an angry wedding party and the prospect of no money and a long trip home. Wulf

Being content? Spend more time using your existing gear to make music than reading about stuff you don't have. Wulf

I'm very pleased with my Zoom H2 (less than £200 although more expensive than just buying a mic). If you can afford it, the advantage over mic linked up to a laptop, etc, are that it is very easy to set up not just for rehearsals but also for gigs. It's also very easy to transport around. It is everything I wanted my minidisk unit to be - an equally excellent recorder but without the hassle of getting the recordings on my computer and with even more recording time. Wulf

I picked up a Stagg EUB from Nick last night. No problems with the instrument (nor with taking a bit of time to try it out and talk about all things bass). Thumbs up. Wulf

Playing hard does give a different sound. You could try moving the pickups further away from the strings. It might be better just to play a bit softer, turning up your amp if necessary. That saves wear on the strings, bass and fingers. Wulf

I've got Barts in my Sei and haven't noticed this problem. My bass is Flamboyant headless #003 - I don't know the date but it is six years since I bought it second hand and it had been around a bit before them (AFAIK with the same pickups). It is a bit quieter on the treble side but that is a gradual thing from string to string, which I have put down to string mass and fixed by making a small height adjustment (pickups are lower on the bass side and higher on the treble side). Wulf