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Posts posted by Earbrass

  1. I have a bass, 34 inch scale. In standard tuning it plays fine, but when I drop the tuning to DGCF there is an objectionable amount of fret-buzz on the first 2 frets of the 1st and 2nd strings, which I can't get rid of without raising the action to uncomfortable levels. The bass is old and cheap, and I don't want to spend a lot of money on it. I am not competent to undertake fret filing myself. Options I am considering include taking it to a luthier for appraisal and possible fret filing (I'm assuming the 3rd fret is the problem - no buzz on open strings or on 3rd fret and above), or changing the strings for some higher tensions ones. The current strings are very old (probably a decade) roundwounds - not sure but I think they are a standard Rotosound set, probably 45-105. I don't want to have to mess with the nut. What would the basschat collective suggest? What strings would increase the tension to the equivalent of standard tuning without requiring enlarging the nut slots? Should I try flats? Would you bite the bullet and take it to a luthier? If so, are there any you would recommend in the Brighton area? I could just tune the 4th string down to D, but I'd rather not as it will mean re-learning the fretboard, and I don't use it much - just for the odd recording project. Value of the bass is under £100, but I am quite fond of it, as it is light (7.6 lbs) and very comfortable, and I have had the cavity professionally shielded and the jack socket upgraded many years ago when I used to gig with it. Thanks for any advice.

  2. 9 hours ago, Machines said:

    қош келдіңіз! мұндағы адамдар ақымақ және мен олар мұны ағылшын тіліне аудармайды деп ойлаймын.

    None taken.

    • Haha 1
  3. 2 hours ago, Earbrass said:

    If you've lost the confidence of more than half of your band, and several have quit rather than have to play with you again, should you cling onto your role as front man on the basis of your conviction that you are the greatest performer since Elvis, or give up and leave the band gracefully? Asking for a "friend".


    2 hours ago, Newfoundfreedom said:


    Maybe a good question for Boris?



    • Haha 4
  4. If you've lost the confidence of more than half of your band, and several have quit rather than have to play with you again, should you cling onto your role as front man on the basis of your conviction that you are the greatest performer since Elvis, or give up and leave the band gracefully? Asking for a "friend".

    • Like 1
    • Haha 4
  5. 23 hours ago, fretmeister said:

    I'm glad it's not 34 - with that body and the strap button at about the 13th fret I could see the balance being a problem with a long scale.

    I'm sure I saw a youtube review of the 32" model that said they have neck dive.


  6. Another thing to bear in mind is that analog synths (or rather synths with analog oscillators), while being very trendy these days, often need to be powered on for a while before their tuning is stable and some will continue to drift or fail to track properly over a few octaves even then, which might not be convenient in a gigging situation. I had an Arturia minibrute 2S for a while, but got rid because I found the tuning a nightmare, and the sonic sweetspots few and far between.


    I have owned a fair few synths over the years, including models from Novation, Nord, Dave Smith Instruments, Audiothingies, Erica Synths and Arturia, and the only hardware synth I have kept, and have no plans to get rid of, is a humble Microkorg. These are a bit marmite, with some hating the "toylike" feel, the matrix user interface and the minikeys, but it is actually a very powerful little machine, capable of a huge range of sounds, almost all very usable. You get up to 4 note polyphony, so simple chords or legato basslines are no problem. The minikeys are not the best, but they are velocity sensitive and you get a full 3 octaves in a very compact and lightweight body. I find programming it to be quite straightforward once you get the hang of it, and there is no real menu diving - almost everything is available right from the front panel. The fact that you can still buy them new 20 years after they were first released says a lot. There are plenty around 2nd hand - I picked mine up for under £200.  Not for everyone, but definitely worth considering.


    There is a huge choice of synths at very reasonable prices these days - I'd say one of the very best of the newer ones is the Arturia Microfreak, if you can live with the weird "touch capacitance (?)" keyboard (not sure I could - maybe not ideal for gigging with). 


    Given the huge variety out there, you might want to try buying 2nd hand, so that you can move one on and try another till you find the one you gell with. Good luck with your search, and have fun!

    • Like 2
  7. Nice. I remember gazing longingly at these, and their 6-string counterparts, in Woolworth's in Brentwood. They only had sunburst as I recall. Quite beyond my 11 year old's means at a hefty £20! GLWTS.

    • Like 2
    • Thanks 1
  8. Yes, although at the other end of the price spectrum! I use a Chinese (?) Superlux R102 to record my nyckelharpa. I find it smooths out some harshness in the upper mids that I encountered when using a large diaphragm condenser. As it is an active ribbon mic, using phantom power, it doesn't require a lot of boost from the mic pre, so it's fine going straight into my interface. I seem to recall it cost about £100 a few years ago. No complaints so far. They often seem to be recommended for stringed instruments. If I were going to upgrade, the Rode NTR and the Sontronics Sigma both look interesting, but I'm not sure the (probably) slight improvement would be worth the expense (they're both in the £600-£800 range) for me.

    • Like 1
  9. 6 hours ago, Bassassin said:

    So the funny is that it denigrates, upsets and offends other people, am I getting that right?

    But if you insist that no comedy should ever upset or offend anyone, you are going to lose so much stuff, from Life of Brian to most modern stand-ups referencing sexual material, jokes about the Royal family, jokes against <insert political party / figure / philosophy here>, Dave Allen on religion, right down to the endless innuendos that form the basis of so much basschat 'humour'. We have social norms and taboos, and it has always been and will always be human nature to find humour in breaking them, and in mocking things we are "not supposed to" mock. Whether or not it crosses a line will always be a matter of judgement, and will depend on things like context and the nature of the audience.

  10. 1 minute ago, PaulWarning said:

    I suppose being offensive is funny if you're not offended by it,  if no one was offended by it it wouldn't be funny

    While I wouldn't say that this was universally true, I think it's unarguably the case that a lot of humour depends on the breaking or testing the limits of taboos of one kind or another.

    • Like 1
  11. Interesting that nobody's mentioned The Sex Pistols, a band seemingly designed with the sole purpose of causing offence. Their lyrics might seem rather harmless and childish now, but at the time I seem to recall they caused quite a stir. Back in the seventies, many of the older generation had lived through the war, and had lost loved ones in the fight against Hitler; likening the Royal Family to a "fascist regime" was a lot more edgy then. Funny how things change; nowadays they are just a minor part of rock history, whereas some of the DJ's who were not allowed to play them on radio one because they were too offensive.....well, enough said.

    • Like 4
  12. 28 minutes ago, cetera said:


    Imagine what could they could achieve if they directed their outrage constructively, where it mattered....?! 

    I'm going to guess absolutely f*** all, as in the present case, apart perhaps from the warm glow of superiority they get from having seized an imaginary piece of moral high ground.

    • Like 4
    • Haha 1
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