skej21

[quote name='eude' post='1136843' date='Feb 22 2011, 10:54 AM']My experience is based on the 1X12 cabs, but is probably relevant.[/quote] Can I just add my 2p? If you're planning on buying a pair of these cabs (2 x DB or 2 x GS), then I don't think there is much difference other than styling. If you are just buying one cab, then Eude's advice about the mid scoop is spot on. IF you put a GS112 AND a GS112NT together, the mid scoop problem pretty much disappears! Completely different sound and completely different animal with two cabs (but means you have to pay for two cabs!) So moneywise, DB is better value for just one cab and the GS112s if you're buying a pair. Soundwise... only your ear can tell you which you prefer

[quote name='bartelby' post='1136761' date='Feb 22 2011, 09:41 AM']Does it work?[/quote] That's the question. The video would IMPLY that it works well but they are targeting people who can use it to create their own backing tracks/karaoke tracks... so who knows whether it will be good. It's certainly a good starting point to build from though. Shows a lot of promise I reckon.

[url="http://www.bbc.co.uk/news/technology-12510702"]http://www.bbc.co.uk/news/technology-12510702[/url] How useful do you think this would be to you? After years of straining my ear/cranking the volume really loud to transcribe quiet bass parts (usually hidden behind noisy/distorted guitar parts) this might be an advancement in technology that is actually quite useful! Don't know how much it will cost though... What do you all think?

Nowadays, no way. When I first started out, I sometimes needed to do a few free gigs but now I wouldn't do it for free. Even if it was an originals band, the politics, egos (both musicians and audience) and bullsh!t that comes with it deserves some sort of money. Except charity. I would do charity gigs for free, if it was for a worthy cause and a cause that meant something to someone I knew.

[quote name='Bassassin' post='1134608' date='Feb 20 2011, 06:23 PM']I'll give you £70. J.[/quote] Are you sure you want to take a risk on a bass that, in truth, you'll probably not have in 6 months because it'll be in a skip somewhere?

[quote name='Doddy' post='1134555' date='Feb 20 2011, 05:30 PM']Having a great feel alone won't get you gigs,if you don't know what to play over a G7 chord. Ideally,you should know what you are playing and be able to apply it musically.[/quote] + 1000000000000000000000000 If you can't play over a simple G7 chord, how are you going to manage to understand the complexities of REAL extended chords, like a maj7#5b13? I think the simplicity of SOME (note I said SOME!) rock and pop lulls people into a false sense of security, particularly when they have little theory knowledge. Being able to busk some lines over a basic G5 or Gsus4 chord (Power/Sus chord) which contains no defining/colouring notes (like a 3rd of 7th) is very easy and makes you think you have a better ear than you really do, because most things sound good over a powerchord... that's the point of them. Needless to say, there is a huge gulf between busking some lines to a powerchord and being able to create lines over continuously evolving chord sequences with complex extended chords! That's why the scales/chords/theory is vital if you want to do it justice.

[quote name='ras52' post='1134533' date='Feb 20 2011, 05:11 PM']Try it and see! I for one have never played an Overwater, so I'll brush up my prejudices before commentong on it. [/quote] I'm sure it would make a great project for someone.... *tumbleweed*

[quote name='Bassassin' post='1134514' date='Feb 20 2011, 04:55 PM']So you are still taking the "if it's cheap it has to be sh!t" line. Does it therefore follow that "if it's expensive it will be good, no question"? J.[/quote] What if I put up my Overwater Progress III Deluxe* up in the 'For Sale' thread for £60 + P&P. Does that make it sh!t because it's cheap? *Or [insert high-end, expensive, custom bass here]

Help me out here, are you suggesting that I am trolling, or that JTUK is trolling? If you meant me, I did not intend that (although I am currently enjoying basschat as a distraction from a long and tiresome dress rehearsal, so you were kind of right about the "stuck in the office" comment lol) My post has been editted to avoid any confusion on my part. As for JTUK, whilst people have offered their first hand experience of the issues he has raised, it would appear that he does take these opinions into account (from what I can take from his posts), which I think is a shame as that is the purpose of this forum. Who would have thought that such a lot of drama could have been caused by a £60 bass, ey?!

[quote name='JTUK' post='1134253' date='Feb 20 2011, 12:53 PM']The issues I mentioned would be the basics I'd look for on any bass.[/quote] That's fair enough, but I think you are a braver man than I to comment on a bass you have not played on a bass player's forum! Bravo!

[quote name='JTUK' post='1133270' date='Feb 19 2011, 12:24 PM']For me... Things like the neck joint and the feel of the neck would be a cause for concern. even the finish on the neck would be an indicator. The paint job as well. That is without getting to the metalwork which will likely stain or flake after some use...that is if the pegs can hold them in tune. The metal itself will be poor. Not a problem for the bridge plate, but the saddles and grub screws..??? And the pickup..???[/quote] It's such a shame that people are having so many issues with Sue Ryder basses! My first imaginary Sue Ryder P (Sonic Blue!) was simply stunning! For a cost-cutting sixty imaginary pounds, it matched every other high-end bass that I've never played in all ares such as quality, tone and cost!

[quote name='Linus27' post='1133487' date='Feb 19 2011, 03:41 PM']I think its because my Precision looks really punk and because its strung with Rotsound rounds, it sounds very clanky and punky. Sure I can dial out some of the tone and smooth it a bit but I kind of fancy a 51 if it can create the more mellow tone I am after. Plus it looks more retro.[/quote] This is a TOTALLY obvious GAS binge! 1) Searching for a "sound" that you think a new bass can give you, despite already owning a bass perfect for said "sound" (minus the flats!) - CHECK 2) Solve this problem by creating an issue with the existing bass (I don't like flats and therefore I NEEEEEEEED a new bass.... honest!) - CHECK 3) On realising that using flats would be a wiser/cheaper move, you quickly create a new problem unrelated to the required "sound" to something completely unrelated/relevant to the band situation (It looks like a punk bass and although I COULD put a tort s/p on and it would be perfect, I still think of it as a punk bass and therefore I NEEEEEEEEEEEED a new bass.... honest!) - CHECK 4) Next you experience a GAS induced panic and purchase a new bass, then the GAS subsides and you realise that it doesn't really do a better job than the P could have, so it appears on basschat and you use the money to buy some flats and quickly realise the "sound" is there and you actually LIKE the sound of flats! We've all been there mate! Do the right/sensible thing and save yourself the money and next time I'm GASsing out, please return the favour and tell me the same thing! PLEASEEEEE!

[quote name='TheGreek' post='1133674' date='Feb 19 2011, 06:39 PM']Delegate my friend..always delegate..[/quote] In which case, give Hades a call... Or have you guys still not made up yet?

[quote name='TheGreek' post='1133663' date='Feb 19 2011, 06:20 PM']This would be an excellent opportunity to get rid of a load of guitards in one fell swoop...anybody with friends in Al Qaeda?? [/quote] Agreed, but surely the mighty Zeus could do the job himself?

[quote name='lapolpora' post='1130492' date='Feb 17 2011, 12:26 AM']Don't wear your Arsenal shirt [/quote] Yeah, good point. If you do, things might get Messi *sorry, i couldn't resist*

[quote name='dood' post='1132645' date='Feb 18 2011, 07:36 PM']That's not the same time as Sax player Garrat Broke was it? I thought they did work together as Still Broke, Norfolk n Tallent.[/quote] Wasn't this shortly before reknowned (and very under-estimated IMHO) percussionist, Homer, decided to leave? It's a great shame to lose such a great instrumentalist, but they continue to be fantastic as Homer-less, Still Broke, Norfolk n Tallent!

Someone got carried away with the cheesegrater!

Just because it's related and usually quite an eye-opener, have a watch of this! *be warned, you will hear lots of things out of tune immediately after listening to this and/or if exposed to it on a regular basis * [u][b]ALSO, DO NOT PLAY ALONG WITH IT OR YOU WILL MAKE YOUR EARS BLEED! [/b][/u]lol

[quote name='Mog' post='1125950' date='Feb 13 2011, 02:05 PM']I dont get that bit? If you can do it on piano then you can do it on bass. Just use the same approach.[/quote] If you can write a killer bassline on the piano and then mimic it on bass then I agree with this. If you're writing basslines as a pianist on the piano, then I'd question whether you're giving the lines enough attention. Some of the most boring, unmusical and unnatural basslines I've ever played on reading gigs have been written by pianists. I always change them and improve them, because pianists tend to write simple basslines so that they don't take up all of their concentration trying to play something rhythmically/melodically complex on the muddy end of the piano They also tend to write lines that feel unnatural to play on a bass due to the fact that they often don't account for positioning etc. If that is the case, then try and get away from the piano as much as possible and (as someone else mentioned) try and work out a bassline from feel [u]on your bass[/u] - starting with the rhythm first. Hope that helps!

[quote name='keeponehandloose' post='1125782' date='Feb 13 2011, 11:08 AM']The main concern we have is getting a good mix to be played loud by DJ's, my opinon is that if there is too much sub bass in the mix it will not translate welll at louder volumes,so I would tend to go for a mix that may be a bit less bottom heavy. Or am I talking sh*t.[/quote] Personally, I'd be more worried about the fact that vinyl is very easy to break in transit (which means you'll have to have more pressed to cover losses in transit, therefore paying out more money) and the fact that nowadays, vinyl is quite a niche market so you're likely to put a lot of people off who like to buy a tangible, physical product but lack the equipment to play it. There's a reason that WAV/Digital media is considered a technological advancement...

Totally agree with Doddy. It's all about technique and your own style coming from that. If that wasn't the case, all the famous players wouldn't keep switching amps/endorsements all the time. People who spend such silly amounts of money crafting a specific sound, appear to do so as a way of searching for the missing character/style in their playing, mistaking their playing style for some "sound" that only money and high-end rigs can create. Like Doddy said already, "the sound in your head" should come from your fingers and should sound like you on any bass/rig. Then you can use your rig to refine what you already have by using slight tweaking (i.e. some EQ tweaks or altering compression slightly) to play on any idiosyncrasies of your gear.

[quote name='stingrayPete1977' post='1122910' date='Feb 10 2011, 05:29 PM']That's the irony isn't it Lojo, Being too busy playing to learn how to read which is part of the against reading camps argument but I still think a basic knowledge for jotting down songs and riffs would help especially in the situations your in now with 40 tracks to learn.[/quote] I agree. Trying to quickly transcribe the tracks you're learning means you can use the notes as prompts in the first few rehearsals and transcribing lines is a great way to practice your reading without sitting down and playing through already notated pieces.