deepbass5

That's sweet Less is more again, letting the funk breathe. Great live sound. thanks for the post.

My Bubinga Schack comes in at 11lb+. and i have read that on the wood density scale which indicates whether a wood floats or sinks in water. Less than 1.0 it will float, it's listed at 0.88 I Have re checked this figure . but the hardware would tip it over the edge so dont go back for it. Worth the pain though [attachment=95752:Schackback.JPG]

Just want to let you guys know about a company that supplies grub screws. www.Modelfixings.com in Nottingham My issue was I found that one saddle on my Schack bridge had a damaged thread and the saddle would not sit at the height I wanted. This was due to the stock grub screw being too short and when fully adjusted was only held by the last couple of threads. These I believe got damaged by the bass falling over in its case face down. So the highest saddle gets the full wack. Anyway I have found these 8mm stainless steel M3 screws and now all my saddles are adjusted and the grub screws occupy the full thread. cost just £5 pounds for fifteen and an M3 key This picture is before replacement [attachment=95726:Schackbridge.JPG]

[quote name='sk8' timestamp='1324414985' post='1474067'] I was just going to use my fuzz tbh [/quote] Probably work just as well, think sometimes we try too hard

That is quite usual, most manufacturers just stick the bare wire under the bridge, even my schack and Shuker were the same. I have even had to rub the black painted bridges back to brass to get a ground. what I do is make sure the wire is clean and I bend it over and solder the loop this creates a larger surface area and the solder also gives it some depth, I then re position it away from the original indentation having cleaned the underside of the bridge, bolt it back down.

I learnt this and most youtube vids have the synth all over it, I found the one i used to get this off, live just heavy bass. I do use a Boss OC2 at 12 oclock and 3/4 direct fed in, 1st Oct only and use a Boss AW-3 set from left -right 2oclock 2oclock 2oclock and mode knob set to sharp. Depending on the hall sometimes the flanger sounds good with the Octave. I would also have my Bass xciter on for this number. I will agree it is a difficult one and easy to over do the bass end, and find you do need to cut through so upper mids and not too much bass on the guitar and amp let the effects carry the weight. So i used this vid to learn it then added an acceptable synth sound to carry it. http://youtu.be/_Nv10-Bc0m0

Wizzard pups get good reviews on here. I had not heard of then until i bought a Shuker 5 on here with them on. excellent sound and they can over wind them etc. and within reason spec each one to how you want it to sound. I would certanly specify them on on any relacement or new bass i Order.

Just wondered if you have a multi-effects unit, as I have found messing with multiple effects and accessible parameters can sound great in your room and be realy OTT on stage or can lose all your oomph and cut. So I use individual pedals now.

Interesting to see a Markbass with external switch, My LMK has not,(circa 1995) I did get out my manual before replying and it does state that they are factory set to be pre EQ. even though mine was post. If Markbass changed that in later models that should be noted, I thought i should state this as this thread may confuse others who find it later. This could also be an English translation typo ? I am happy with my DI set to post EQ for recording as I can ensure the desk is getting my sound, if the engineer wants to strip that back to flat I'll argue that later. For live Di mixing I agree a pre EQ would be prefered, but most companies will want you though one of their DI boxes anyway. But I have had some good comments from some theatres on the quality of the MB DI

Markbass acually state that their DI's are pre EQ and pre filters. so would not help you using just the amp stand alone. But my LMK is actually wired post EQ.from new, I don't know why. Markbass also say this can be changed internally, by a " qualified Technician" you check it when Di'ed through the band PA, just adjust the EQ drastically and ask the sound guy to listen if it is changing, then you'll know for sure.

As touched on above. Band line up could make it difficult, A big wall of sound to cut through, Keyboard who uses left hand chords could squeeze you out. Try not to use bass frequencies through the effects, roll them off if there is that facility, Harmonics is what really carries good effect sounds (chorus and flange) Use Octave full range Bi Amping is great,I used this for years and it works, but make sure you have enough low end power and cone area to provide the weight. An enhancer works wonders

[quote name='hubrad' timestamp='1322323960' post='1449435'] If it really talks to you, you'll know whether it's worth it. If not, why worry? [/quote] Nothing else to say really, I only ever ask a shop to plug a bass in to try, If one says "you Like me don't you" Shops should provide blind folds to eliminate any pre judgment.

I started off finger style 90% and pick 10% on numbers that called for it. I have dropped the pick over the last few years, I believe to my detriment. I think you do need this skill in your arsenal. But never get to practice the skill to get up to speed even though some numbers were recorded with a pick and are difficult finger style.

I would agree with [b]algmusic[/b] and [b]Bottom E[/b]. Vocalist tend to determine the key and a lot of songs never sound the same when changed. I believe a 5 string is a good all round tool for most musical styles. It is a different instrument to a 4 string bass and should be considered as such. Also agree the extra string can detract from the sound of the E and other strings, probably vibrate differently too. I Like 19mm spacing to feel like a 4 under my fingers, but it isn't as easy to slap. These compromises require a better made instrument to minimalise these negative points, but the flexibility is worth it for the key options discussed and economy of movement.

Funny. If ask I name him as my favourite guitarist, because to play really good funk you need a bloody good guitarist. A lot of fancy lead players can't hold that down. So we can create big holes in the music and it all hangs together. And Bernard of course was an inspiration. What a team. will get the book nice xmas stocking filler

I was happily playing a 4 string when Disco hit town and into the 90's but a 4 string isn’t much good when all the hit songs you are trying to play are being created on 5 string basses and using synth's In the early 80's the drummer thought he was going extinct due to programmed drums and digital recording techniques, then the bass player went through the same issues when every keyboard player started laying down bass lines. Good news is we are still here to debate it. I even bought a Yamaha DX7 to compete, but then decided if I can't play it on the bass I don't wanna play it on anything else. [b]Keep this on the key change thread[/b], we don't think any less of you for playing only 4 strings, just admire how quickly you can wiz up and down the neck. I would seriously go back to 4 strings but for the ability to change keys and keep the same familiar patterns, avoiding open strings. Except of late when reading I have been trying to incorporate more open strings like upright players to give more hand positioning and thinking time.

A Mad Wedding, we usually do sedate weddings and Masonic dinners so have been a bit sheltered of late. This was like a Fat Gypsy wedding from hell. Their first song we learned miss fired a bit. But the free drink from 2pm till 1 am resulted in the two Irish families and a rugby team to fall all over the stage. Knocked over the guitarist stand and mike, also fell on monitors and the stage lights crushing one and blowing the rest. Basically we found it hard to concentrate, as many of the guys later stripped to the waste and started bare knuckle fighting around us.

Some interesting things coming out of this topic, The old 5 string debate, one reason I eventually went down the 5 route was all those 80 -90's disco songs below E and playing notes up an octave just didn't do the song justice, the other thing a 5 string gives you is even more flexibility changing keys and avoiding open strings. I guess the main point coming out here is we don't like playing out of our comfort zone. As said above we probably are best placed to change keys with least mental work than on other instruments.

Yep I know the feeling. We do disco inferno in Eb as Tina Turner, starting the run down on F# on the G string, Last week our guitarist played the whole thing against me in a different key despite me holding up my bass and shouting Eb. What was more worrying was when he said why was I shouting Eb when he settled on the right key it was in E. His hearing loss must be worse than we thought. This week he played it just fine, and never mentioned last week. He also got me to learn Sweet Child of mine in C, then a year later, can we change to D. Fine but I have learned it with all these open notes. Un nerving to do 80% in a different key I would think

Similar to Bassace, use to play trombone also tuba, so I’m ok with valves. With this in mind I volunteered to play a tuba part in our Swing Band last year at our annual concert. The band arranged the loan of a tuba from a local Brass band, and despite having 5 - 6 weeks to practice my Lip was only just up to the task. I should note I had not played trombone for ten years either but the larger mouthpiece was a killer. I have the same desire to acquire a sousaphone, I did play one in a bass quartet as a teenager, but this last experience has showed me the dedication required to get up to a reasonable standard, but then you need to maintain that level.

It is more fun together in a van, on reflection at least. Here's one that still brings a smile Once ended up in Woburn Safari park in a pea souper of a Fog on the way back from St Neots to Oxford probably 1978. Just heard what sounded like a cattle grid then another then a sign at a gate saying beware wild animals. And no bugger would get out see were we were in fear of being eaten. How many of you have travelled in the back of Luton bodied vans with no sense of where you are, with just the constant flash of yellow street lamps going passed through the translucent fibre glass roof.