Commando Jack

Well done mate, let us know if you get "the call"

Well, I see everyone's covered most of the main points, i.e. the girl will have been surrounded by music and had optimum tuition. For those few months, 10 minutes a day is all you need when you are practising the correct things. For what its worth, talent for me is inherited, but then I consider talent to be someone's capacity to learn the instrument/music. If you taught an instrument to two people in controlled conditions for a given amount of time and a controlled practise time (so that neither could practise more than the other etc), I think one would progress more quickly than the other at the start because their brains were wired better and their bodies more physically capable. Of course, I also think that the talent component of a person's ability tends to zero by the time you get to the requisite 10,000 hours.

[quote name='AndyBob09' timestamp='1342022427' post='1728297'] I guess my tuppence-worth is the reviews, as with most people. However, my beef with the reviews is that of course a Fodera is going to get 5* - Or is it? I don't know - BUT when you give a sub £200 bass 4* or 5*, it totally loses validity of review because how on earth can the two be compared? I understand that a sub £200 may get 4* or 5* because it may play more like a £500 bass and that is great for THAT bass but it doesn't play like the multi thousand pound Fodera which, on star basis, would have got a similar rating. [/quote] I think in this regard everyone is under the assumption that the rating is weighted according to the price range, i.e. a Squier is 4 stars (or whatever) [i]for its price[/i]. However, some would also argue that a good squier could feel as good as a high-ender (there are certainly numerous accounts of Squiers playing better than Fenders) so maybe it would deserve its 4 stars regardless of price. The key is clarity. One of the computer magazines my brother gets has a nicely comprehensive explanatory page at the start of the review section that addresses a number of points to help a reader assess the review. Not only does it discuss the standardized test rig, but also breaks down the way they award points. This particular mag uses an additive system of scoring features out of x, value for money out of y, etc adding up to a final percentage value. So we can see what is important to the reviewer and assess the score. A similar bass system might be scoring the sound, feel, features and price each out of 25, and adding together to obtain a final percentage. Of course, this is just an example and it isn't really important so long as you can see all the numbers in the review and it's easier to make an informed decision. [quote name='AndyBob09' timestamp='1342022427' post='1728297'] I can +1 the full transcriptions (no tab please! If you don't even give tab as an option, it may encourage people to read actual music. People who play woodwind or brass instrument don't get a handicap) but I do understand the issue of paying publishers. IF the transcription wasn't accurate - out by a quaver or something - where does that have you stand? [/quote] Other people have mentioned that this is commercial suicide and I'd tend to agree BUT I think this is a cracking suggestion for online content. With a magazine subscription you could get access to the extras online, including dots only transcriptions of the features in that months magazine (which would feature dots and tab to reach out to most people).

I assume you've been using over the counter medications like ibuprofen and diclofenac (including the topical gels)? What about a comfortably hot bath with some[url="http://be-selfish.co.uk/products/bath-therapy/muscle-therapy"] Radox muscle therapy[/url] in it? Obviously the main benefit will be from the hot water, but it smells nice

[quote name='bertbass' timestamp='1341998313' post='1727559'] You could use mic splitters, this would give you 2 outputs from each mic. 1 output of each mic to the main desk and the other to your monitors. You could use just a y-cable to a load of these, [url="http://www.studiospares.com/splitter-combiners/studiospares-red506-microphone-splitter/invt/458250/?htxt=%2FUvRjc0xAaKk26JwgsxcsV6E2gjpK53ITJCPcypNRrR6jhjYX3SDlEUFWaOdTpLU0xVcTayKYYOc%0Aw4t9gBa9qg%3D%3D"]http://www.studiospa...4t9gBa9qg%3D%3D[/url], or even some of these, [url="http://www.behringer.com/en/Products/MX882.aspx."]http://www.behringer...cts/MX882.aspx.[/url] [/quote] I couldn't get the second link to work so maybe this [url="http://www.behringer.com/en/Products/MX882.aspx"]link[/url] will.

[quote name='51m0n' timestamp='1342001323' post='1727641'] [url="http://www.zoom.co.jp/english/products/h4n/"]Zoom H4n[/url] Sounds incredible at recording all sorts of stuff. [url="http://soundcloud.com/51m0n-1/track-7/s-T7TIC"]Here [/url]is a recording of a jam in a rehearsal room on Sunday night [/quote] Seems to be the most popular, I myself use an Olympus LS-10 which is real easy to use. I think there is a newer one out. On the cheap you can go for the [url="http://www.amazon.co.uk/Zoom-H1/dp/B003Y6S2WU"]Zoom H1[/url].

[quote name='Pete Academy' timestamp='1341952918' post='1727045'] Why do people knock him? [/quote] Because he's a trumpet player!

[quote name='The Dark Lord' timestamp='1341923731' post='1726226'] Can you get USA Teles that are not string thru? [/quote] I had a look on GAK and found [url="http://www.gak.co.uk/en/fender-custom-shop-50s-two-pickup-esquire-relic-ice-blue-metallic/61101"]a custom shop model[/url] that does. It was the only one in a long list though so it's pretty rare. Unless it's an after market bridge of course.

[quote name='plumbob' timestamp='1341872079' post='1725596'] [b]still struggling to figure out how that behringer system works =/[/b] As far as I understand it , you require your FOH mixing desk to have direct outs , 16 of these can be fed into one of these [url="http://www.gear4music.com/Recording-and-Computers/Behringer-POWERPLAY-16-P16-I-Personal-Monitor-Mixer/ITY"]http://www.gear4musi...nitor-Mixer/ITY[/url] which then enables these all to be fed down one cat cable to stage , there upon you can plug it into one of these [url="http://www.gear4music.com/Recording-and-Computers/Behringer-POWERPLAY-16-P16-M-Personal-Monitor-System/IU1"]http://www.gear4musi...itor-System/IU1[/url] from this you can daisy chain up to 64 of the above, so if you have one personal monitor you can select 16 other band players in your personal ear mix , and have control over each players volume , eq, pan, solo and mute etc likewise your drummer with his personal monitor can select 16 band players in his personal ear mix how he wants it , ie volume, eq, pan , solo and mute etc , and so you go on for another remaining 62 personal monitors ! Just think if you were in a 64 piece choir , all 64 members could have control over there own in ear personal mix, all off one small cable , no need for massive monitor cabs etc Probably a bit over the top for your setup , but it does make you rethink whats now possible ! [/quote] I was looking at that too based on this thread. The crux is that it relies on having 16 direct outs from your desk, which our desk certainly doesn't have!

[quote name='KingBollock' timestamp='1341912327' post='1725895'] The Mole Grip idea is the best, but another way, if the screws are too short but still sticking out a bit, is to either file or saw, using a hacksaw, a slot for a flat head screwdriver into the end. [/quote] I have used a dremel for this very thing. Either way cutting a new slot works really well.

I use 11s on my tele. In fact, I switched up to them because I kept breaking the G-string on a 10 gauge set. Is it always the same string or different ones? Two things to try: 1) Get a pencil and, when changing the strings, "colour in" the edge of the bridge in contact with the string. Actually while you're at it, do the same at the nut. The graphite in the pencil lead will hopefully lubricate the saddle enough to stop any catching. Since doing this I haven't broken a string. 2) Get a magnifying glass out at the offending bit and see if there's any sharpness. If there is then get rid with a gentle rub of steel wool. If both these things fail, then I'm afraid it's time to look at the guitarist's technique. If he's using a really weak flimsy plectrum then he might be tempted to back it up with his thumb when he digs in. I remember playing with an acoustic player who did this and he went through strings like they were red liquorice laces.

[quote name='redstriper' timestamp='1341447305' post='1719360'] Sorry if this has already been suggested, but I would love you to do the following: Get a selection of Jazz basses in for review - high and low end Fenders, along with both cheap and expensive copies, like Squiers, Faridas, Laklands and Sadowskys. Then let reviewers compare them blindfold........ and no cheating! Then you could do the same with Precisions [/quote] +1 again. It could be expanded to an every-now-and-again feature where basses battle it out. And of course don't leave it to fender clones, what about Stingray-alikes and Rickenfakers? Also, I think that reviews or buying guides to peripherals related to recording and live sound would be interesting. Things like wireless systems, IEM, DI boxes, bass friendly audio interfaces etc. The likes of Sound on sound would review this stuff every now and again but they are rarely for bass. Of course this is something that a lot of people couldn't care less about, but touching on it sparingly would be useful, and the back-catalog that you build up would become a useful reference (esp. good for driving people to your website )

Zoom lollies paled in comparison to Polly Pineapples, but I loved my old 707II. It was the perfect thing to learn what each effect did (whether it was good or not) and decent results could be had if you gave it time and effort.

[quote name='chris_b' timestamp='1341825312' post='1724489'] You all decided not to dep because you’re not a function band?? Is depping just something “lesser” bands do? I’m sorry, but that is just an arrogant and pretty stupid idea. [/quote] I actually thought he meant the opposite, that the band weren't on that level where the gig is more important than the mates being together for the gig, so if someone couldn't make a gig it got turned down. As far as I was aware that was the norm for hobbyist cover bands and original bands. My condolences anyway, would have been a sweet gig, but you can't predict the future and did the right thing based on the info you had at the time AndyBob.

Misleading title yes but he clearly states it's a Squier in the description. Maybe an amended title is in order. Edit:Just saw the last pic which seems to show the fretboard hanging over the heel of the neck. Is this normal?

[quote name='KingBollock' timestamp='1341585058' post='1721418'] Also, I see no one has posted a corner desk. [/quote] I vaguely remember reading in Sound on Sound that setting up in the corner was a no-no because of the bass resonances.

I don't really enjoy their recorded music as it always seemed a bit limp. However, the songs are solid and I really enjoy covering them (we do Fire and LSF at the mo).

Cheers guys I'll look into the suggestions above

So I have done a quick search but haven't found anything concrete on google or here so I'm hoping someone will know: I just discovered (because someone on here mentioned it) what the Akai unibass did and thought it was neat. One of my bands could maybe use this in places to cover during guitar solos etc. However, these seem to be like hen's teeth, and I wondered if there were any other pedals that gave you an octave up with a 5th above (i.e. guitar power chords) over the top of your dry bass signal. It seems like an obvious thing to want to do and I thought that surely another company would fill the niche. Would a Boss GT-6B or similar do it even?

Herein lies the difference between "fit for purpose" and "actually nice sounding". In a mix or live, the fit-for-purpose pickup will be indistinguishable to most people (most people being the general public and non-bassist musicians, we are in a minority after all ). So if you wanted something serviceable and fit for purpose, you've wasted your money. If you wanted something that sounded nice to you, then you got a good deal Edit: Just so you know, nobody noticed when I swapped out my Korean pup for a wizard trad and upgraded the electrics, but it made all the difference to me!

[quote name='highwayone' timestamp='1341406654' post='1718443'] ...so individually they're cack but collectively still cack imo!!! but a fuller cack [/quote] Bwahahaha! Beautifully put As previously said the audience will probably not care.

I can get this when listening to music if it's too low in volume - I put it down to only hearing some of the harmonics and not the fundamentals. Never happened at a gig though thankfully.

[quote name='Stacker' timestamp='1341322085' post='1716979'] Lovin' this one, at the moment: [url="http://www.gumtree.com/p/for-sale/cheese-guitar/105900208"]cheese Guitar[/url] [/quote] That is class

[quote name='musophilr' timestamp='1340884724' post='1710973'] How does the Boss box know how to do pitch correction? Do you tell it what key you're playing in and it corrects to the nearest note in the scale? Do you have to play at concert pitch for that to work? How does it deal with key changes, accidentals, and blue notes? [/quote] I can't speak for the Boss unit specifically, but the Digitech version I have listens to the note you're singing and corrects it to what it thinks you should be singing based on either a pre-programmed key (just majors and minors and pretty useless IMO) or a chromatic mode. The chromatic mode is usually enough for most singers if they're nearly on pitch but not quite. The digitech can also follow guitar chords (there is a MIDI version for keys), allowing you to control what key it thinks you're in by the chord. Great for key changes, and if you want to sing an accidental you can play a given chord including that accidental and it should pick it up. Disclaimer is that I don't use the pitch correction but it uses the same detection algorithms to add the harmonies in, and the tracking seems to be ok. Edit: I see the TDL has covered the Boss pedal, same idea I guess.

I would advocate recording. You can use a free plugin called GSnap to look at the pitch of the vocal line if it's on its own track. The plugin is designed for pitch correction, but actually shows a live graphical output of the singer's pitch (of course melodyne will do this but its costs money). Then you will have something to point at and show him if he accuses you of hearing things. BTW if you're looking at vocal pedals, don't forget Digitech's Vocalist range.