Conan

[quote name='icastle' timestamp='1360872804' post='1977805'] ...so if anyone wants a 5 string then tell Conan what you think is good and visit the For Sale section a week later... [/quote] Many a true word is spoken in jest

I've tried it three times now, and on each occasion it has produced the same result - a five string bass in the for sale section That said, I've never tried one of such quality as the one the OP has the good fortune to own. Maybe that is the reason? The problem is that all my favourite basses have four strings, so any fiver that I was to stick with would have to be pretty bloody exceptional-and I'm yet to play one like that that I could afford... I know that isn't what you want to hear though, so I'll stop there.

As we exist purely for the entertainment of whores, maybe a "dildo" of bassists would be appropriate? Or as we are also clowns, maybe a "circus" of bass players? I'm sure Inti could come up with a few pithy suggestions...

[quote name='swanbrook' timestamp='1360764010' post='1976051'] I am sure your buddy nige got it however.[/quote] That was a bit unnecessary. It comes across as petty and antagonistic. Why would you do that?

[quote name='TheGreek' timestamp='1360698015' post='1975006'] You're better than Flea Marking... [/quote] With what would one mark a flea? Special insect paint? Or are they actually crustaceans?

In the early-mid 1980s I spent many an hour learning and playing pretty much nothing but Level 42 bass lines. I actually got pretty good at them eventually, which filled me with deep admiration for the guy who actually wrote them. Not only are they rhythmically complex, but there is often a lot more going on that it first seems. And yes, his fingerstyle is excellent - even though he wears his Stanley Clarke influences on his sleeve somewhat (which is no bad thing!).

I've used Elites on my Status for donkey's years. They sound good to my ears and last pretty well too... [url="http://www.stringsdirect.co.uk/p/912391/elites-double-ball-end-45-105-bass-guitar-strings/"]http://www.stringsdirect.co.uk/p/912391/elites-double-ball-end-45-105-bass-guitar-strings/[/url]

[quote name='Dingus' timestamp='1360673225' post='1974262'] Jimmy Haslip doesn't play anything on any of them that is as effective as his bassline on Walk The Dinosaur by Was Not Was[/quote] Haslip played Walk the Dinosaur? I didn't know that! How on earth does he slap with the strings the "wrong way round"?

Despite answering "no" in the poll, I do favour my Geddy with my current band. It is also the newest bass of my three, so I am still kind of getting used to it. Also, the two guitarists in the band play Fenders so it looks nice too!

[quote name='dmccombe7' timestamp='1327001730' post='1505113'] First came across Jimmy Haslip on late 70's album Brother to Brother by Gino Vannelli. [/quote] [url="http://www.youtube.com/watch?v=eVm6hL0cynA"]http://www.youtube.com/watch?v=eVm6hL0cynA[/url]

[url="http://www.youtube.com/watch?v=DtA0i2flBDM"]http://www.youtube.com/watch?v=DtA0i2flBDM[/url]

Another vote for the GL jazz bass here... Assuming that by "slim" you mean "shallow"? I.e. front-to-back rather than side-to-side?

[quote name='xilddx' timestamp='1360337023' post='1968925'] I remember a grown up musician on here (can't remember who) saying pretty much every note on the kick drum should be covered by a bass note. I honestly couldn't comprehend why anyone would believe that. Bizarre [/quote] Depends what effect you are going for I suppose. In some styles of music that could work, but it seems to be making music a prison rather than a playground. Why make up rules where there need be none?

[quote name='xilddx' timestamp='1360335150' post='1968873'] Playing to the vocal is my thing, playing to the drums is most definitely not as important to me as designing lines that support the vocal. I like to let the drums have a lot of space, I like to hear them shine.[/quote] [quote name='thisnameistaken' timestamp='1360335927' post='1968895'] I agree. I honestly think the whole 'lock in with the drums' advice that beginners get is pretty bad advice. I would say that regardless of what instrument you're playing, your first job to make the vocals sound as good as possible.[/quote] I agree with both of you! But it's horses for courses (or lasagne...). In some bands the vocalist fits in with the rhythm of the drums too, so as bassist your task is slightly more complex as you then have to avoid (or comppliment) what the singer is doing in terms of phrasing or pitch... In other bands, the vocal melody may go off at a complete tangent to the other instruments, in which case you can either 1). Ignore them and get on with providing a solid foundation, or 2). "Weave" in amongst the vocalist's phrases and melodies to add another layer that improves the track. A lot of it stems from knowing your bandmates' styles and knowing your own style. Both take time.

[quote name='LeftyBiskit' timestamp='1360285479' post='1968243'] I listen to the drummer, and "play what i feel" then incorporate that with whatever chords/notes are going on. beyond that......I cant explain [/quote] That's pretty much me too, although sometimes a bassline will evolve if I get a better idea and it fits well. In my current band, all of the material is written by the guitarist. So when I joined the band he had already recorded quite a bit of the stuff with his own basslines on. At first I simply learned his lines as they were, and then started to change them to suit my style of playing. He was perfectly happy with this, even though he is a pretty decent bass player himself. Now when we write new stuff I mostly follow the formula above - follow the drums so that there is a solid rhythmic foundation and them work around the two guitars to bring some harmonies and counter-melodies in. Then I like to take away a recording of what we have at that point and listen to it over and over again to try to see what is good and what needs to be changed. It works pretty well in this band, and is a method that works well for me!

[quote name='paul_5' timestamp='1360276483' post='1968121'] Chronicles - Rush (a bit of a cheat, I know, but it's the first Rush album I got; I learned a lot from those 2 cassettes...) [/quote] Wow! That collection covers everything from 1974 to 1991, and geddy changed his style (and bass, and strings...) quite a few times in that period. Which of his "incarnations" best sums up your style do you think? I'm most like his Test for Echo style I think...

Two years ago?!? Crikey. Can't believe it's been that long. If the death of a person moves or affects you in such a way that you will always remember where you were when you heard the news, then I think it is an event that is worth remembering. For me that list is short (apart from family and friends of course). Gary Moore is one of them. As is John Martyn. RIP both.

Compared with Ebay, Gumtree and the like, this site is relatively free from these types. But you do occasionally encounter them. Frustrating, yes - but it could be a lot worse! And it's usually the new members...

[quote name='GreeneKing' timestamp='1359980658' post='1962775'] I suspect your comment Conan about build was based on knowledge of the BF alone? Both cabs sound great and I'm not about to promote a cab bun fight. Both are great cabs, just significantly different approaches to the box that the speakers fit into.[/quote] I am yet to see/try an EAD cab, so yes - my comments re build quality are restricted to my knowledge and experience of BFB. I was really responding to your original post that they seem flimsy. To an extent they do, but in use they are less so than they seem. No "bun fight" intended here either. I just thought that the original comparison (S12 vs. F212) was a bit unfair as they are trying to be different things. A far more useful comparison would be (as you said) Big Twin T vs. F212. And as you rightly say, the financial side is much more balanced too. I think we are actually agreeing with one another...

Crikey! Those kids have frighteningly extensive vocabularies!

[quote name='eude' timestamp='1359979339' post='1962726'] To be fair, the Big Twin T is much more along the same lines to the EAD Foundation 212. The Big Twin T is £1050 + the Neo surcharge of £40 per speaker = £1170 which is very much in the same ballpark as the EAD at £1250.[/quote] Agreed. That would be an interesting A/B test!