ARGH

A price increase? It happens...If the instrument worth it,judging by looks alone...Yes. Everyone says good things about Sei's and the build quality is there so a 20% increase on an already top nick instrument isnt a suprise. If you cant afford it,or think its wrong,go to a different luthier ACG,Shuker (as and when Jons stuff has dried out),RIM, or Jim Fleeting

I need to get one of these things.Im really green about this sort of thing. I want a floor unit,timeable delay..as in i can start/finish the delay as/when I wish. and it has to be made of metal. recommend me people

That sound like hell...How did you not lose your rag.?

simple,dont respond...and start playing about with timing with the drummer. Does help if you have a drummer thats good,but do it on a gig,and REALLY dick about under a the guitar solo,(Its freeform right) its hard and takes practise,but if you two fire off each other really well,then the guitarists frustration will be a picture. Remember guitar players demand and need orchestrated interplay,take structure away from them and they flounder in their own ego.

[quote name='bassbloke' post='41480' date='Aug 5 2007, 08:07 AM']My tale is more a weekend of fun and games that I experienced when I was in my first band years ago (1995 I think) A name Swedish Death band was touring the OK and we'd been booked to open for their final show - London on a Sunday night. Wicked! I got a phone call from the London promotr on Friday mornign to say that the tour manager alleged he'd been mugged in Manchester and that he was carrying all of the cash needed for the tour, including payment for the coach company. Very fishy. Upon hearing of this, the coach company promptly announced they were returning to Sweden. If the headline and main support (also Swedish) wanted to get home with their gear they would have to cut short the tour, else the company would leave them in the UK. The 2nd support band werer from Belgium and decided that they'd be better off trying to get home from England. The promoter asked if we'd be willing to play the remaining dates of the tour so that the 2nd support could have a go at flogging some merchandise and at least making a few quid. The only problem is that they had no transport. We turn up at the first gig in Tunbridge Wells to find that there's no way the 2nd support can play. So, a 5 band bill featuring 3 name bands is suddenly reduced to a two band bill featuring a couple of demo bands.There was a queue of nearly 200 people outside and the venue aren't exactly publicising the billing. I had to walk the queue constantly to explain the situation. Thankfully the crowd are understanding and most demand a decent amount off the door price too. Next nigt's gig is in Milton Keynes. We load into our band transport -a Bedford rascal - and head on up to the gig. This time the Belgian band are playig but they have no transport whatsoever. WE do the gig and then the promoter plays his trump card-we need to get the Belgian band back to London. We drove down the M1 with 8 people and our backline wedged into the back of a 1.3 litre Bedford Rascal! And so went the weekend. We finally got roped into driving the band back to Dover so they could get the ferry back. They ended up leaving their backline with some strange witch they'd met in Canterbury and arranged for one of them to go backand get it later. Most of my gigs nowadays are more straightforward[/quote] Was that Dismember????

For me the answer is situational. And like others Ive been there when an active has died on a gig or has had an electrical fault. Essentially you are playing the same notes on either instrument so its probably a psychological question on like vs dislike. If I walk into a wedding,by instinct,I take a passive,because I dont want to be the one that had a crapout and spoilt the big day,yet on a normal gig,I take active because i can tweek the sound onstage via the onboard eq. My only nightmare is a G-K rig....ugh

You ever seen Bowie with Gabrels doing 'Heros'???

[quote name='Alun' post='41254' date='Aug 4 2007, 01:23 PM']I'll have to try that - sounds wonderfully bizarre. At the moment, my tunings are quite reserved. Apart from standard, I mainly dabble with the B string on my six string - CEADGC and AEADGC but have written solo pieces in CEACGC and AEACGA. Have tried GCGDAD but didn't really come up with anything that exciting. Cheers, Alun[/quote] It was..... Harmonically very weird,quite droney if I recall (if that isnt a word it is now)

Im just going to dig out an old preBowie interview with her... She has been an amazing musician for years.

The weirdest one I tried during my school days was D-A-D-Dsharp. Ive had a fretless tuned to 5ths (CGDA) to try and extend the range.

Sod that Amps...Tech 21 Bass....depends Strings......Elites

ERB? Gregory Bruce Campbell [url="http://uk.youtube.com/watch?v=aAevLpGHsxs"]http://uk.youtube.com/watch?v=aAevLpGHsxs[/url] And the sub contra dude Stuart McKinsey [url="http://www.myspace.com/stewmckinsey"]http://www.myspace.com/stewmckinsey[/url] or www.subcontrabassist.com or you could just natter with me in a month or 2.

Yeah THATS an improvement. Whats the cost of the top change?

[quote name='Higgie' post='39083' date='Jul 30 2007, 05:01 PM']I have a Tech21 Comptortion for £60 (inc. postage)...It's a great distortion pedal. Ant and Toasted will tell you the same [/quote] ANYTHING by Tech 21 is good in my book!

After seeing a few Woot vids,I have to agree,though Its actually Bill Dickens thats made me try it. [url="http://uk.youtube.com/watch?v=kyUCOeUTM7E"]http://uk.youtube.com/watch?v=kyUCOeUTM7E[/url] It is a bit mental. this is tasty,What cant all slappers be this tasteful. [url="http://uk.youtube.com/watch?v=NHdN_O5k3WM&mode=related&search="]http://uk.youtube.com/watch?v=NHdN_O5k3WM&...ted&search=[/url]

Good ol banging Soul fills the floor everytime... ^_^ 1-nil to the Band!

Coz its hard and Im trying!

Want to get noticed....? Move about a bit.

Agreed,I would rather go to a shop,and pay a bit more,if the staff actually give a damn and seem to know what they are on about. Im a bit sick and tired of the "Well the guy that knows about Bass stuff isnt here/has gone home" line. In my job I have to know EVERYTHING or as much as dammit,and get checked regularly to see if my knowledge is up to date,ok so is it nesserecery to have everyone fluent in midi and protools and active systems and amplification,in a shop,maybe,maybe not,but it would really really help. Even a customer care course...or ANYTHING would be a start. A Fred Perry with an embroided logo doth not the expert make..... I know selling music gear can make you jaded as hell (Ive a friend that owns an independent) with all the kids coming in just to do crappy versions of Metallica riffs,and tossers who want super expensive boutique gear,but dont want to pay a deposit for it,or give any details (so what do you do ? Order it and pray they come back and show interest?) and then they slag your shop off for selling "cheapy jappo stuff" Best shop in the UK for me is Mansons in Exeter,They actually say hello for a start.

[quote name='Shockwave' post='38293' date='Jul 28 2007, 11:08 PM']I have known for at least the past year the huge finanicial problems they have. I know the Bristol SC's manager and a freind of his. Basically yes your all correct, SC has expanded too quickly and failed to realise that unlike supermarkets who get loans to expand where 100% of the population needs food. Music shops are unfortunatly not the same less then 1% of the population are musicians, They took loan after loan and bought out a number of companys and they just cant pay back their debts. We thought they would have gone tits up last summer but have somehow managed to hang in there. The Bristol one is usually quite busy And with relatively good salesman (The reason i say salesman is because they only hire based on how well you can sell a product, Not how much you know about it). Expect a decent sale at somepoint.[/quote] Thought so,that 5 string gold hardware'd Spectors mine

Isnt soundcontrol what used to be 'Academy of sound'???

[quote name='paul, the' post='37938' date='Jul 27 2007, 06:51 PM']Don't confuse me, I'm wearing a towel.[/quote] What colour?

Ok,I keep hearing this on the grapevine. Soundcontrol are on the verge of folding because they havent paid their importers or something,and shops are to close. Now is this a Leeds only thing (As they have 2 shops in the city,both in really dim places that are a sod to get to or find). Any light? I personally think its not happening,but I do go into the stores and see sodall being sold or persons inside buying.......... soooo???

[quote name='mr_russ' post='38050' date='Jul 28 2007, 09:07 AM']I've owned and played basses with maple necks that I've loved, and others I've hated- I've owned and played basses with wenge neck that I've loved, and again others I've hated I'm certain in myself that the wood does affect tone, but the variation between seemingly identical instruments can be so profound it's almost impossible to say without doubt which I prefer. I've disliked most wenge necked warwicks I've played- and swiftly connected the main outstanding feature (the wenge neck) with that dislike. Yet my old Sei original 5 was made almost entirely of the stuff and it was fantastic. Like CK said, it's all a balancing act. I try not to judge a bass by the wood it's made of anymore- if it sounds good and feels good- it is good, whether it's made of ash or mdf.[/quote] Is wood good? Good wood is!

[quote name='alexclaber' post='37552' date='Jul 26 2007, 10:02 PM']but the electric bass is first and foremost an acoustic instrument. Alex[/quote] You have outdone yourself there Alex,I thought 'Positional playing on an ERB is laziness' was the pinnicle,but hats off.....I applaud. Ok,Take your pickups out and the electronics and see how far you get on your next gig. The is NO Alchemy or absolute to building an instrument or within an instruments construction re:tone. What you ,and others are failing to take into account is that although a species does have certain properties,the scope is wide and varied. For example maple 'will' be more trebly than Mahogany,but in reality there are some REALLY trebley Mahogany guitars and bassy maple guitars...Luthiers have to work within trends,as said there aint no absolutes. You can get two Basses made of the same wood,even the same tree,with exactly the same elctronics,and they will feel and play differently thanks to density,grain direction,pickup winding pattern,many factors..etc etc Not only does it vary in species,the same species,but it wil vary across the length of a board/neck..attach that neck to another bass with the same body material and that sound you have been enjoying is different. So it was not the neck governing tone..was it the body..no....telling the difference between maple and Wenge is extraordinarily difficult Its the player,and the scale and the electronics. Dear Alex. Fret a 3rd fret G,on the 36" custom when you get it..then the same note on your regular 4 string,Downtune the 4 to B,then play the 5s B. Thats the difference. The constant factor is you....or whoever picks up that instrument,the scale is the change. Why would a luthier make 2 guitars the same just to see if they sounded different? (Fender/Gibson do that every day). It just astounds me that a few weeks back everyone was saying ,when I pick up an instrument it sounds like me,and now we are saying the neckwood governs our tone,so what is it then.... Neckwood is personal choice,I dont like Wenge much,I was brought up on P basses so I like Maple under my thumb,but dont attribute it to X Tone is better or makes this noise,because thats just rubbish.