Mog

Didn't/don't Boomers have silk wraps?

Depends on the Company really I suppose Pierre. Certain companies have excellent customer service for all their clients regardless of their stature within the business. Others will look after the "big boys" and keep output to a premium. In the same vein manufacturers will often turn a blind eye when some of their top artists appear regularly with other brands but would not be so tolerent with someone with a lesser degree of marketability. Those lucky enough to be offered an endorsement should understand what is expected of them and perhaps more importantly have a knowledge of the product they're endorsing and indeed the ethos of the company who manufactures it. I've turned down endorsements because I knew that the company in question would have been unable to match my expectations (which were not OTT by any means).

The singer just needs to be told that the mix he prefers is causing the band to sound unprofessional and may lead to potential clients taking their trade elsewhere. Surely the others in the group have as much of an input as he does?

My OCD takes over in a lot of cases. When I was starting out I couldn't leave it with learning a single song from an album, I had to learn the whole thing. Its the same with scales/modes etc at the moment. Slowing a piece down always helps IME.

[quote name='essexbasscat' timestamp='1343552792' post='1751890'] Good thread. I learned Dee Murray's basslines to Elton John's Goodbye Yellow Brick Road when it came out. I can still remember all of it some 40 years later. As a result, Dee Murray's coloured my playing ever since in very subtle ways. Dee, if you ever get to read this, a huge thank you [/quote] +1 for Dee Murray. The guy is just immense. My usual mantra when writing basslines is "what would Mike Inez do?" and never made the connection until I saw some clip on the gootube a few weeks back in which Inez stated that Murray was an influence on his playing.

IMO the second solo (from 4:35 - 5:27) is one of the finest guitar solo's ever composed. The structure is fantastic. [url="http://www.youtube.com/watch?v=n4WEAHRLorM"]http://www.youtube.com/watch?v=n4WEAHRLorM[/url]

[quote name='BigRedX' timestamp='1343577005' post='1752241'] What on earth is the point of having an endorsement deal for gear you are not going to use? [/quote] Only James LoMenzo can answer that one

[quote name='chrismuzz' timestamp='1343501507' post='1751537'] I actually like tougher strings too, my fingers... Kind of slip off the smoother ones especially when I start to sweat! Still, don't like rotosoubds either. Nothing really wrong with them they just don't work for me sound wise [/quote] Give Dean Markley Blue Steels a go lad. Similar enough to Roto's feel wise but IMO they are infinitely superior in the tone department.

No harm in trying them. Chromes are my favourite when it comes to flats but I like a brighter tone than most of the bassists I know. Definitely dont worry about them in relation to what genre you're playing. If its too dull tweak the eq. If its too bright tweak the eq........................simples.

[quote name='lowdowner' timestamp='1343419108' post='1750618'] *so* many fender-fans... but when I hear Stingrays on different tracks I'm impressed... I guess trying one is the way to go.. but 4 or 5 sting?? [/quote] No harm in having a five string, but try both!

IMO its a good idea to lock in with the drummer for 90% of the song, verse, chorus etc. A bit of ad lib never harmed anyone though and doing something different during a bridge section or maybe a bit of harmonizing when a vocal line changes dramatically can really add to a song. Trust your ear and your foot. If it sounds good and your foot is tapping along you are doing something right.

[quote name='JimBobTTD' timestamp='1343328499' post='1749095'] Being a band jukebox has always been a dream of mine. A book at the front of the stage with a list of all the available songs...request made...band plays track. [/quote] We used to do this in a band I was in. Live karaoke we called it. Took a lot of practice but it was excellent fun.

Try get your hands on one for a few days or if thats not possible try get as much use as possible in a store. I'm talking repeat visits and playing until they tell you to stop................. Personally I love the tone but hate the neck.

Aw, a Roto noob They can feel fairly rough on the fingers alright. Funnily enough I actually like them when the've been on a bass for 12 odd months, thats seems to be when everything settles and theres a uniform degree of "thud".

[quote name='Rammstein2012' timestamp='1343079518' post='1745049'] Has anyone used one of these, maybe for a while? i'm a bit concerned that over time, the comprrssion springs on the barrel of the jack would force the internal parts of the guitars jack socket (or pedal jack socket) just that bit too far, so that if used with a normal lead it would be a bit loose giving a bit of a bad connection. I got given one of these leads and its brand new, un opened. i just dont want to use something that could over time, cause problems. [/quote] I've got one of the original ones that came with the colour coded rings and all that. 12 years later I cant fault it.

If you cant do it with a Tele its probably not worth doing............

A lot of excellent posts in the thread. Its tough at the moment so I would recommend trying to be a full time musician AND keeping the day job. Keep a ledger of your income from both. After a year check back and see if you are earning enough to take up performance/tuition full time. The biggest earners for me are (in order): Wedding Ceremonies. Functions (Weddings, corporate). Tuition. Session work. The ability to play a few instruments and run a desk will help a lot. IME the following are essential: A solid reputation. Excellent gear. Reliable transport. Dependable bandmates. The ability make sense of crumpled and faded reciepts. Insurance (both health and gear). A sense of humour. A partner who is willing to bail you out if you need it.

Could be a different design maybe?

Just got a reply from Dunlop tech support. Turning the pot counter clockwise decreases the delay and clockwise increases it.

[quote name='TomWIC' timestamp='1342635528' post='1738468'] I've spent the last half hour playing with that pot on mine, sure enough, that's where the delay is set. I found with it turned all the to the right (clockwise with the way I've photographed it), there was no delay at all. When I took my foot off the pedal, I had my clean signal back instantly. Well chuffed I found out about this, it really has been doing my head in. [/quote] Fair dues lad. I was looking for a battery to go have a fiddle with mine (giggidy ) as I didnt fancy pulling apart the pedalboard.

[quote name='Mr. Foxen' timestamp='1342567642' post='1737332'] How do you figure where flat is? This program shows what tone knob settings can translate to in an eq chart thing: [url="http://www.duncanamps.com/tsc/"]http://www.duncanamps.com/tsc/[/url] [/quote] Thats fantastic lad. Cheers for posting it. (There really should be a sticky for this kinda thing..... )

Boss Micro BR. Very handy. If you come up with something during practice just arm a track and record it.

Had a look at my own and its similar to the the pot in the OP. I've emailed Dunlop tech support looking for clarification. I'll post what they send back when I get a reply.

About as cheap as it gets! [url="http://www.youtube.com/watch?v=3NRVIaeFAhM"]http://www.youtube.com/watch?v=3NRVIaeFAhM[/url] Or something like this... [url="http://www.youtube.com/watch?v=7pE8ReA5cn4"]http://www.youtube.com/watch?v=7pE8ReA5cn4[/url]

Could it be his playing technique? I guy I play with regularly breaks a string maybe every second night. The saddles are perfect but his technique isn't........ Could be his right hand technique coupled with a heavy pick is placing extra stress on the strings. Gauge has nothing got to do with it. Hendrix often used 11's and 13's. SRV used 13's. Heavier gauges on a Tele sound better IMO. I've often had flatwound 13's on one of mine.