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There are some amazing BBs in this thread. I just made a comparison video between my BB1025X and BB434. The process of making the video made me really appreciate the differences between the basses. Yamaha BB434 vs BB1025X

[quote name='WHUFC BASS' timestamp='1328038215' post='1520779'] .....ahem... its an English accent. There's no such thing as a "British" accent. [/quote] We are easily impressed by those too. Actually, I wavered on which term to choose and clearly guessed incorrectly. Shows what I don't know.

Although the Roddy Piper stuff in the JB vid is a joke, the exercise for playing through the changes across the neck without restarting on the root is great. If you don't already have that skill set, shedding just that exercise is worth the rest of the video. I quite enjoyed the humour in the Tony Franklin vid - maybe because Americans are easily impressed by anyone with a British accent.

@Gafbass02 - Finally picked up a MoMark recently and gigged. I felt like, "Why have I waited this long to get one of these?!". That said, still looking for a good set of 210 cabs to go with it. I have a Genz Benz Uber410 which sounds awesome but is uhh...large. Definitely going to check out the berg's, but I am not sure if they can be stacked on their sides. Have you tried?

I can't speak specifically about the difference between the two power supplies, but have compared a little mark 800 with a momark sd800 (which also has the 800w digital power amp). If you are looking for a wet / middy 70s era slap sound, you may prefer the little mark, otherwise I'd give a nod towards the momark. It just sounds a little tighter than the lmk series to my ear... almost like an f800 (albeit in a bigger box). I was able to pick up a used one at GC for about $500 and have never been happier with the sound of any amp. Pleased as punch.

Thanks for the clip!

[quote name='billyapple' timestamp='1327350375' post='1509859'] Was it the Rose St. Fry? The best Haggis and chips, ever. So good I had it twice in a row.. all with salt n' sauce.. the business. [/quote] I don't think so, but it sounds delicious. The place I went to was on High St between the train station and the split off at Castle Hill. On the left hand side about two blocks up if you are heading towards the castle. Take out only. They wrapped it in newspaper, and yes it was the business. Haven't been able to find brown sauce like that anywhere in the states. When I was 10, there was a Social Studies (history) project in school where you find out a few things about one of your ancestral countries, and paint a picture of it on the wall. I learned two things that blew my mind: that soccer was really football, and that chips were French fries and were served with fried fish. Sounded delicious (the food, not the football). Finally had it a decade later and it was well worth the wait. Re: Portmeirion - I'm happy to hear any non-music related places as well, but Portmeirion could easily fit into the music category, after all, Stephen Fry and Hugh Laurie filmed the Laughing Prisoner there, and together in J&W, they sang a hilarious version of Minnie the Moocher. So there's a strong music connection

Actually, last time I was in England ('97) I spend most of my time in Liverpool. My too best friends went to LIPA. I had a good time, but that [i]was[/i] 15 years ago. All I know about Nottingham is that the sheriff is from there. Enjoying this thread though. Is the Bass Gallery where SEI basses are made? Isn't it on a street in London with a bunch of music stores?

Cool! We love San Francisco. Jake - your post cracked me up. I know it was all in English, but after a certain point my eyes glazed over like I was reading Greek. I hear Wales has awesome castles, so we're looking forward to that. I had fish and chips in Edinburgh for the first time 15 years ago, fulfilling a boyhood dream - no really. I hope the shop is still there.

Hi all, My family and I are planning a trip to the UK in the summer. We'll be there for a couple of weeks and will most likely hit England, Wales, and Scotland. Tentatively our plans are to start in south (Brighton) and work our way north, with our time roughly divided between old stuff (castles, henges, etc), TV stuff (filming locations for Lovejoy, Poirot, Jeeves & Wooster), and eating. Somewhere in there I'd like to sandwich in a few music related events. It could be anything from the British Music Experience (worth it?) to a jazz club (only one I know is Ronnie Scott's, others?), to a bass store. We'll most likely get to do this in London or Edinburgh. Any recommendations? Thanks, Ben

In no particular order: Ramble On - Led Zep Diamonds On the Soles of Her Shoes - Paul Simon (pretty much this whole album) What's Going On - Marvin Gaye Funky Monks - RHCP Amoreena - Elton John Your Smiling Face - James Taylor Takin it to the Street - Doobie Brothers SledgeHammer - Peter Gabriel Every Time You Go Away - Paul Young Stir It Up - Bob Marley & the Wailers Show Don't Tell - Rush Red Barchetta - Rush Tempus Fugit - Yes Jerry Was A Race Car Driver - Primus Jethro Tull - Teacher Soul Vaccination - TOP ....kind of hard to stop once you get going Gotta say this list makes me sound old...although many songs on it are before my time.

[quote name='Pete Academy' post='1042833' date='Nov 30 2010, 02:50 PM']Prompted by Bubinga's thread on Bobby Vega, I looked at a few Youtube vids of him. I've always admired him, but I found his mastery of plectrum style really inspiring. Do you ever feel like you want to explore different playing techniques but haven't got the inclination or patience to do so? Or are you happy with how you are?[/quote] Actually, Bobby Vega inspired me to start practicing with a pick too. He is sooo fluid..like liquid funk. Always loved the tone Dug Pinnick and Chris Squire got, but it was Bobby Vega that made me finally knuckle down and work on it. After 3 months of practicing with a pick 30mins per day I went from being completely incompetent to occasionally groovin. [url="http://basschat.co.uk/index.php?showtopic=100123&hl="]http://basschat.co.uk/index.php?showtopic=100123&hl=[/url]

Greg bought a bass from me and was great to deal with. He's an extremely affable person to boot. It would be a pleasure to do business with him again.

I've got a double gig with a rock/pop pianist and roots rock/jam guitarist coming up next week, so right now it is these [s]three [/s] four guys who do a great job of balancing pocket and exploration. This week: Dee Murray - Amoreena anyone? This guy deserves massive respect. Jimmy Haslip - with Bruce Horsby on Hot House - lurv him with the Yellowjackets too, but he fits in well with this group too. Kenny Gradney - What a pocket! Two Trains is fun, but ckeck out the slow tunes liek Roll Um Easy Jimmy Johnson - with JT live @ the Beacon - the lines you [i]wish[/i] you came up with

Thanks, Sibob! Yes, I really had a long hill to climb from that first recording. The first month was spent mainly doing single string picking variations on a konnakol exercise. The second month was spent doing string crossing variations on the same exercise. So that part was really pure technique. After that, it was much more about capturing the sound and making the bass part fit together like a drum groove. As far as confidence goes, I do feel that if someone asks me to play with a pick on a song, I'll at least sound competent. 108 days well spent for that. I didn't know much of Kai's playing before I started the program, but have since gotten really into Garaj Mahal...going to see them in a few weeks. I have nothing but admiration for any player with such an original and well executed voice.

It costs about $15 an issue here in the states, but I've found myself picking it up more and more. I liked the recent Gail Ann Dorsey and Anthony Jackson articles. BGM gets a thumbs up from me.

Hi All, I just completed my first 108 day cycle of Kai Eckhardt's Mentorship program. During the program I worked on playing with a pick, especially playing 16th note grooves with muted notes. Prior to this program, I had never really played with a pick, but always thought it was a hole in my abilities since I like the sound and playing of guys like Bobby Vega and Chris Squire. I also bought the Bobby Vega DVD, which was helpful for understanding how he holds the pick, and getting a little bit into his head. So here I am throwing down my before and after grooves. The before groove had fresh strings, the after groove had strings that had been played on in 100F outdoor gigs. Day 1 Signal Chain Matt Pulcinella Level 5 -> Pod X3 Live -> Reaper Day 105 Signal Chain Matt Pulcinella Level 5 -> Pod X3 Live -> Ableton Live & EZDrummer There is still alot to work on...especially with regards to the differences in dynamics between the fretted, muted, and backbeat note. But I thought it was pretty good progress for 3 months of work @30-45 minutes per day. Let me know what you think. Best, Ben

I have played a Rogue, and it does indeed balance better than the other models with shorter horns (like my Series 1 Long Scale). Alembics can very widely in weight. Mine is about 10lbs, but I have played a Series 1 fiver that weighed 15lbs! Based on the attached pic, this Rogue has the Stardard Rogue electronics. One of the switches lets you change the tone knob to a Q-filter, which is similar to the Series 1. IMO, the big benefit of Alembic electronics is when you use systems that let you control the sound of each pickup individually (Anniversary, Series I, and Series II). Same thing that is so wonderful about the Wal basses. @Lozbass' comments are on the money.

Cool! Gary Willis is a big influence on me. I'm just about finished transcribing "Say Never" from Actual Fiction. What a beast! I would just about fall over if I stumbled into a jam session where he was on bass. Back in 2000 I had just moved to San Francisco. Been in town less than a week and had a 1 day temp job doing some consumer survey stuff for luxury automobile brands in a big room in the basement of the Masonic Hall. I took my 15 minute break and was walking around the lower levels of the building when I spotted a bunch of people carrying instruments into a room. A few of them looked to be about my age (24 at the time), and I thought to myself, "Cool! A local jam session. I'll go introduce myself." So I walk right into the room behind these guys and girls and said, "Hi! Is this a jam session? I'm a bass player." And who should turn around, but Wayne Shorter! I muttered an "Oh....sorry" and sheepishly backed out of the room. Turns out he was playing there that night and this was his rehearsal I had just barged in on. So by comparison, I don't think talking bass to Gary Willis at a jam session would have been that bad...