Commando Jack

Came here to say this is not scientific due to tiny sample size, no controls and bias because the 8 people were probably staff in confused etc, but I see that has been covered.

Didn't happen to find this on TDPRI by any chance? Still, excellent board, well done

[quote name='rubis' timestamp='1357158017' post='1918434'] If it's a Stingray-type tone you are trying to get ( depending of course on what bass you are using ) try a PM to Tommo on these pages. He's done some excellent pre-amps based on early Sabre and Stingrays and did put one in a stomp box [/quote] +1 Either a standalone preamp or of course you could modify your current bass to be active. Alternatively, if you're not happy with the tone of the bass you could change the pups. Wizard pickups have a good name and do versions of the musicman pickups. Specifically to stomp boxes, I would be looking at EQ pedals and compressors. Finally, you could look at a multifx pedal like the Zoom B3 and use the amp modelling settings to change your tone, i.e. swtiching between an SVT model to a Bassman etc depending on your needs. Some FX pedals may model pickups as well (I think the B9.1ut does this), it which case you may be able to find something that is a facsimile of what you're after. Long story short though, as far as I'm aware if you want a stingray tone, you have to just buy a stingray...

It's a fantastic kit, took me a couple of days to build but it was my very first so I was learning a lot along the way. Good luck

Keep us posted on that bag Re: quality etc, I might have a Zoom coming for Christmas and I might plump for this bag if it matches the gator equivalent

That could go on your resumé if you put an ad out! "...able to endure 6 hour rehearsals..." I know I couldn't do it

Funnily we were hired by a guy to play in his bar based on the fact that we didn't really do any country and the majority of our set was quite modern and alternative. He booked us for a string of gigs with strict instructions to play "no yee-hah!" The first couple of gigs were a struggle trying to explain to his punters that the LL didn't want any country, so we weren't playing any. After the first couple of gigs we had a skeleton crowd at best and when our term ran out we weren't asked back. In general though I am happy enough not to play certain songs. Over here in Northern Ireland there is the added malice of alternative lyrics, which are sung by certain paramilitary organisation members. A lot of pub owners ban those songs and quite rightly so.

It actually looks like a zomibe guitar, like it once had proper skin that was burned off by acid. It would be class for halloween! Signed, The eternal optimist

The best learning I ever did was with drums, and the teacher had a very casual style. He essentially taught me a given technique and showed me some songs where it was used, then said "come back to me when you can do this". Sometimes I came back after a week or two, sometimes I didn't see him for a month. It allowed me to learn at a pace I could cope with around school etc and I progressed really quickly. I had weekly lessons for oboe at school and this didn't really work for me - I began to see it as a chore because although it was well structured, it boiled down to "learn this piece for next week". The material was typical tune-a-day type stuff, so it took a long time to progress (it was very slow increments of difficulty). I would get bored and not practise, sometimes only practising the night before or sight reading the piece in front of the teacher. Incidentally he often praised my sight reading ability because he knew fine rightly what I was at! Any other instrument has been self taught, and this was only really possible because the musical background I received at school helped me understand and apply to different instruments. As I suspect with the majority of self taught people, progress for me was sporadic and came in bursts because the majority of time I started to lose direction after I reached a certain level.

[quote name='Beer of the Bass' timestamp='1345457310' post='1777611'] I don't bother with it myself, but you can set eBay to save your regular searches and send notifications of any matching results. Some people find it useful. If it's all such a waste of time, what are you even doing reading this thread? [/quote] I think this would be a worthwhile function that would help in certain circumstances. Some people can't feverishly check the for sale forums everyday and posting in the wanted ads is no guarantee of being in the queue when the item appears. A wee email to let someone know that a barefaced compact has just come up for sale for example would probably be welcomed, as they only seem to last an hour before being snapped up. Of course, I have no idea how much coding etc would be required for this function so if it's not feasible no bother. Just a long winded way of saying "this".

Kind of makes a mockery of treble booster pedals. He probably has this reasoning because tube screamer type pedals have a notable mid hump in them.

Is it only when you're using effects? It's very weird that you're getting delays at the lowest settings. The USB interfaces I use have negligable latency at their fastest setting, but I always ran into clicks and pops eventually. I use Cubase myself so hopefully an Ableton user will turn up soon. In Cubase there is an option to choose your ASIO driver - does Ableton have a similar option? If so then I would make sure that it's using the right driver rather than a generic one. If you're still having trouble try using the ASIO4All driver.

[quote name='DanEly' timestamp='1345126783' post='1773932'] I'm just after something that will result in a solid work horse [/quote] If that's all you need then walk into the nearest guitar shop and pick up a mexican Jazz or even a Squier you like the look of. This forum is awash with stories of people (myself included) successfully gigging low-rent basses . Of course there are even USA jazzes second hand on here for the price of a premium build. If you want something that you build yourself and becomes your baby, but styled after a particular bass, then as Mr. Foxen says, don't worry about authenticity, but quality of parts.

I'm going to assume you've got the correct asio drivers installed and you have reduced the sample size to the smallest amount possible without clicks/pops? Download the [url="http://www.thesycon.de/deu/latency_check.shtml"]DPC latency checker[/url] and run it on your PC as a first port of call. If you're getting any red or yellow lines then I would start looking at the drivers for other PC components such as wi-fi or network drivers that are hogging the CPUs time.

At the time I got my home insurance the advisor told me that my gear was automatically covered in the contents insurance, excepting individual items over £1000, which you have to declare and add indivually to cover them. I specifically asked about paid gigs and he said I was covered. He was a guitarist himself with a couple of Gibsons so I took his word for it, but I've never had to invoke it. It was Nationwide Building Society btw.

Might be worth considering the guitar and type of pickup. For the single coils I use, I really can't abide the sound of metal slides (really thin sound), so it's glass all the way for me.

[quote name='TimR' timestamp='1344451544' post='1764845'] I've found it can often lead to several problems: 1. The singer starts to want everything transposed to 'his/her' key and you end up with a bland set-list with everything in more or less the same key. 2. They start using it as an excuse not to sing certain songs when you get fed up with transposing and decide to stand your ground. 3. You waste time spending hours trying to find a key that fits their range but also sounds good. 4. Somebody decides to practice at home to an MP3 on the day of the gig, and a car crash results. This happened to me with 3 false starts on We Are The Champions because the keyboard player had been practising the intro at home on the day of a big gig. That's a really exposed start to mess things up on, with no way to recover! [/quote] The only time any of these things have happened to me is when the singer was an unprofessional twit who couldn't communicate. The last one has never happened to me, but who would practise at home in a different key?

Our last gig for a pub we've been playing in for years was last Saturday night. I don't know if there will be another round of bookings as the rumours are that live entertainment is getting the heave-ho. Heading into the September-November deadzone is not pretty that's for sure.

[quote name='cazzag' timestamp='1345029876' post='1772486'] Nice one...not too long at alll, very much appreciated! Its is sooooo funny that you mention about the roles, because one of our members decided to give everyone roles during our 5/6th meeting. I do understand it, but thought it was very premature as she doesnt even know us properly. She even gave herself the "joker" role, to which i said " but your not funny". She said i was the" heart" of the group (?!) to which i asked her for an explanation. She then said that i was the "emotional" one....which i still didnt get! I think the way you have put it does make sense, and i am coming to the conclusion that this band will need a new bass player :-) Just to throw into this thread disscussion, I think that if all band members of a group have the same musical tastes, that helps a lot. Does anybody disagree with that? [/quote] Lol, if she's trying to "assign" roles then she is doing it wrong. The secret to these pyschological takes on things is to realise that they are a tool to help us understand what is happening, not to pigeonhole or define people. Roles switch, change and evolve. The most common pitfall is to assume you know and can define everyone, just because you are aware of some physological concepts.

There was a completed auction on Ebay for one of these that finished around £50 +£9 postage. Having looked at the specs I think that was a bit low so maybe you should aim higher.

If you can do one or the other, it means that with practise you can do them together. Keep at it. Nobody can concentrate properly on two things at once, and your brain is flicking between bass and vocals. I would second the advice of knowing the basslines inside out to the point where you can hold a conversation while playing them. At that point, enough of your concentrating power is free to allow you to sing. Btw be prepared for crossed wires - the rhythm of your vocal lines will follow the rhythm of the basslines if you're not careful!

[quote name='Johnnyc' timestamp='1345028313' post='1772451'] Thats really cool looking at it from that point of view. Very interesting post Jack I'll be working out who's filling what role in the coming weeks I imagine. More often than not I'm filling the joker role [/quote] Thanks - I just know it changed the way I think about bands. Some would say the joker is the most important role and many times the saviour of the band btw, so big shoes to fill there!

What's your live set up? If the amp has a DI, use a dummy load and just take the DI out?

The charts are right and there is just one typo on the Asus7 chart. +1 for learning the theory aspect. The memorization of these shapes looks at least as difficult as learning every note on the fretboard and applying the theory to it.