deepbass5

[quote name='stevie' post='1286899' date='Jun 29 2011, 08:10 PM']Just because you're the world's no. 1 manufacturer doesn't mean you don't produce crap. There isn't a natural relationship between size and quality. Look at General Motors. [/quote] I agree to some extent, what annoys me about some of the leading brands, is when they move away from their flag ship models that got them the recognition and status, then start producing compromised designs for the beginner market and make misleading advertising statements as to their performance. Just to get a piece of that market. Basically build down to a price. So my advice is buy a reputable brand second-hand cab from someone on hear. why bother making something that other people do better. Probably looks better and has a re-sale value. I have read up enough on the subject initially to do the same, but the more I learned the less sure I was about starting. Bill and Alex have said it all on here many times, and they could name a few companies that are happy to compromise their integrity for a share of the most profitable end of the market.

I did successfully use Aluminium foil But I bought a pie tray from Makro, well had to buy a few actually, gave the rest to the wife who looked puzzled. It worked fine as it was thick enough to solder earths onto. I used ordinary cooking foil to glue to the cover. But I did re- do this a year later when I changed the preamp and purchased the proper copper tape along with my order for Pots and string ferrules. Good luck

Wish i could sing, wish i could play bass better. The two at the same time would be great. Have a job plucking the same note I'm fretting sometimes. Interesting Alex commented on Reggae, as the only person i can understand how they play and sing at the same time is Sting. Early Police bass lines his vocal style sits in the gaps. So maybe start there at it may get easier ?

Phew ! But Life's too short. I enjoyed playing this at a wedding, but there were four of us. Even working just the bass part out took me long enough, ended up righting it all out so i could argue with confidence with our guitarist, but you don't have that problem. Well done, no Click track i notice. How often do you reckon on running it through so not to forget it, if you intend to perform it in the future, guess it will need some maintaining.

Rarely go above the 12th Like Johnston, I only venture beyond fret 12 for Free - Alright Now and the intro to Sweet Child of mine. (oh! Just learned the bass solo to Smooth operator for the hell of it) I am Bass player Damn It Wasn’t it Marcus Millers Dad who reminded him that, what’s played below the 5th fret is where the Bass player earns his money? I used to have a headless Lag with about 29 frets, my others are 24, but since buying Homers Shuker with 21, I prefer it, it feels right like my first P bass. More room on the body to pluck n thumb Go for less Frets

I thought that a gas torch and set fire to it was the way to go then a rough rub down and use an acid wash on the grain then a thorough rub down followed by a wood stain to the exposed grain then a final rub down re exposing the main body but leaving the darker grain pattern which is now slightly below the surface, untouched. But don't listen to me as if have never tried it. Ash is the only wood I would attempt this on anyway and your axe looks too nice for this Zebra effect treatment. But if you mean enhance rather than bring out the grain, then thats a whole different thing. Try Mr J Shuker he is renowned for his finishing.

23 Years worth here so don't panic, and they are not all in my head. We pull our sets from these, and will be different each gig depending on the crowd. Would love to play some of your sets above, but the Function band market dictates you need to please them all. happy browsing The Queen Auld Lang Syne Happy Birthday Jolly Good Fellow Anniversary Waltz The Lady’s Song Blue Moon Julie London Fly Me To The Moon Julie London Cry Me a River Julie London Can’t Take My Eyes Off You Andy Williams The Look of Love Bert Bacharack How Sweet It Is Marvin Gaye Something Stupid Robbie and Nicole Ole Devil Called Love Alison Moyet The Lady Is a Tramp Ella Fitzgerald Moon Dance Van Morrison Will You Still Love Me Tomorrow Carol King He’ll Have to Go Jim Reeves Sway Pussycat Dolls Fields Of Athenry Traditional All My Loving Beatles Please Please Me Beatles I Saw Her Standing There Beatles If I Fell Beatles Can’t Buy Me Love Beatles Twist n Shout Beatles Crazy Patsy Cline I Fall To Pieces Patsy Cline Angels Robbie Williams Amarillo Tony Christie Sweet Caroline Neil Diamond Let’s Twist Again Chubby Checker Unchained Melody The Righteous Brothers Baby Come Back The Equals You Send Me Sam Cooke Sweet Caroline Neil Diamond Being With You Smokey Robinson Brown Eyed Girl Van Morrison Top of the World The Carpenters Achy Breaky Heart Billy Ray Cyras Brown Sugar Rolling Stones Jumping Jack Flash Rolling Stones Honky Tonk Women Rolling Stones Summertime Blues Eddie Cochran Oh Boy Buddy Holly Johnny Be Good Chuck Berry Rock Around The Clock Bill Haley Shake Rattle n Roll Bill Haley Can’t Help Falling In Love Elvis Presley Jailhouse Rock Elvis Presley All Shook Up Elvis Presley Blue Suede Shoes Elvis Presley Do You Wanna Dance Cliff Richard La Bamba Los Lobos Dream Lover Bobby Darin Just One Look The Hollies Build Me Up Buttercup The Foundations Pretty Woman Roy Orbison When You Walk In The Room The Searchers Sweets For My Sweet The Searchers Locomotion Little Eva Saturday Night At The Movies The Drifters Let It Be Me The Everley Brothers Love Is All Around The Trogs Out of Time Chris Farlow You Really Got Me The Kinks My Girl The Temptations Dancing in The Street Martha Reeves Wait Till The Midnight Hour Martha Reeves Never Walk Alone Gerry & the Pacemakers Need Your Love So Bad Fleetwood Mac Albatross Fleetwood Mac Let’s Stay Together Al Green Mama Mia Abba Dancing Queen Abba Disco Inferno Tina Turner The Best Tina Turner Raining Men The Weather Girls Hot Stuff Donna Summer Le Freak Chic Car Wash Rose Royce Play that Funky Music Wild Cherry Blame It On The Boogie The Jacksons Billy Jean Michael Jackson Shake Your Body Down The Jacksons Going Gets Tough Billy Ocean You To Me Are Everything The Real Thing I’m Your Man Wham Let’s Stick Together Brian Ferry Let’s Work Together Canned Heat Come Up And See Me Cockney Rebel Devil Gate Drive Susie Quatro Tears On My Pillow Kylie Minogue Can’t Get You Out Of My Head Kylie Minogue Tide Is High Blondie Wonderful Tonight Eric Clapton Crazy Little Thing Called Love Queen Dance The Night Away The Mavericks Walking On Sunshine Katrina & the Waves Summer Of ‘69 Bryan Adams Baby When You’re Gone Bryan Adams The Only Thing That Looks Good On Me Is You Bryan Adams Everything I do Bryan Adams Alright Now Free Dancing On a Saturday Night Barry Blue Every Breath You Take Police Rocking All Over The World Status Quo Kid Pretenders Wicked Game Chris Isaac When You Say Nothing At All Ronan Keating Don’t Know Why Norah Jones Closest Thing To Crazy Katy Melua Better Together Jack Johnson Whistle For The Choir Fratellis Valerie Amy Winehouse Get The Party Started Pink Superstar Jamelia Ruby Kaiser Chiefs 500 miles Proclaimers Smile Lilly Allen You’re Beautiful James Blunt Mysterious Girl Peter Andre No One Needs To Know Shania Twain From This Moment Shania Twain I Feel Like a Woman Shania Twain Vertigo U2 Samba Pa Ti Santana Black Magic Woman Santana Uptown Girl Billy Joel The Last Time Keane Sweet Home Chicago Blues Brothers Everybody Needs Somebody Blues Brothers Mustang Sally The Commitments Sweet Home Alabama Lynyrd Skynyrd When September Ends Green Day Sisters Are Doing It For Themselves Eurythmics Hey Baby DJ Oxy I Feel Good James Brown Stuck In The Middle Stealers wheel Breathless The Corrs Shoop Shoop Cher Hi Ho Silver Lining Jeff Beck Wind Beneath My Wings Bet Midler When a Man Loves a Woman Bet Midler Girls Just Wanna Have Fun Cyndi Lauper Call The Shots Girls Aloud Hey Jude Beatles Love Is a Losing Game Amy Winehouse Mercy Duffy Moon River Andy Williams Tiger Feet Mud Zoom Fat Larry Wonderful Land Shadows Is You Is Or Is You Ain’t My Baby Renee Olsted Red Red Wine UB40 Sweet Child Of Mine Guns n Roses Nothing Else Matters Mettalica At Last Etta James Annie’s Song John Denver Use Somebody Kings of Leon Sex on fire Kings of Leon Mama Do Pixie Lott Cry Me Out Pixie Lott Sweet About Me Gabriella Cilmi I Don’t Wanna Talk About It Everything but the girl Iris Goo Goo Dolls Hollywood Michael Buble Mayhem Imelda May Price Tag Jessie J Wooly Bully Dixie Aces I Will always Love You Whitney Houston Pack Up Your Troubles Eliza Doolittle Money For Nothing Dias Straits Mambo No 5 Lou Bega Livin La Vida Loca Ricky Martin Merry Christmas Everybody Slade Have A Merry Little Christmas Pretenders Winter Wonderland Standard White Christmas Bing Crosby Last Christmas Wham I Wish It Could Be Christmas Wizard Rocking Around The Christmas Tree Mel and Kim Lonely This Christmas Mud

He probably knows if he puts them on, on the last day they won't be able to resist staying behind to pick up the rubbish.

Sounds Like a contradiction in terms But my only surprises have been OLP RAY, and a DEAN. And Like the ATK's

I'm With Mr G String

I have found getting your cabs off the stage a good thing. You then have a constant sound to work with. We all know there are good and bad sounding stages some really make you sound good others can be awful then you are left trying to sort stage coupling and room acoustics out with you Amps EQ. They could need opposite settings. Plus I do a lot of Hotels on Carpet. My Trolley was made out of 3/4" Hardwood Ply I bought a sheet by mistake Bloody heavy and expensive, But better that than go the other way do not get Shuttering ply left around building sites, it will break up. I was very careful to round all the edges and take the corners off and file everything down, a spot of varnish wouldn't go a miss. [b]The reason the last thing you need is a splinter just before you go on stage. [/b] There are so many advantages. You can run cables under them, Mike and music stand legs can be position under them, and you can spin them round to get to the back of your cab in a hurry. Often set up the PA amps and mixer on one for this reason. Pile amps, monitors and bags on to make fewer trips to the van after the gig.

Make a Trolley board Best thing i ever did about 10 years ago. A good bit of 3/4" ply you can buy good wheels from the larger BQ stores that take the coach bolts. Larger Dia wheels the better for rough ground This has not only saved my back but also doubles as a cab platform during the gig. I now get a consistant sound wherever i am, solved all the coupling issues and hotel carpets that suck your sound away. Thats the main advantage, under your stack whilst playing, I also carry another truck with fold down handle, them blue grey pressed steel things from Makro for heavier amps n things.

A couple of you mentioned the desire for a foot switch mute whilst also indicating your love of the Markbass amp, get an LMK the channel footswitch doubles as a mute for either channel as well as allows you to hit both buttons to jump from channel A to B.

I have always wanted a triple amp So basically a stereo amp but with one side split which you could also be bridge if desired. The Larger amp would be 500watt and you would have two 250 watt amps that would form a stereo bi amp top. I would have the large amp for the low end you would use clean you would get an active cross over knob for setting this. My preamp would have a built in top draw stereo chorus and additional patch bay for series /parallel and pre post x over. Probably a built in compressor limiter. What more would you want. Well a custom set of speaker cabs to match I guess. The nearest I got to this was with a Peavey 15x2x8 cab then bought the peavey bright box which was 2x8 with built in amp. I had a Carvin Probass 500 head Bi amp and drove the 15" low end, fed my hi out to a stereo chorus pedal and fed one output to the powered bright box and the other back into my Hi in on the amp that fed the 2x8 of the larger cab. Cooking !!!

Slightly uncomfortable with the suggestion, as it will end up a witch hunt, a lot of BC'ers can be a little OTT on this sort of subject. If the Moderators wish to set up a sort of Trip Adviser style star rating that may be more useful. Some luthiers are better in certain areas than others. Neck, Body, Electrics, or just basic professional finishing. Or the guy who constructs their necks or wires the control cavity leaves to join someone else or sets up on his own we maybe should know about it. We have a lot of power here to influence others so criticism should be done responsibly, direct to those concerned. They should have a means of redress. I am thinking more of the British Bass Luthier, not the local music shop who knows this guy who tinkers with guitars.

Just thought of another really cringe worthy line. A drummer I know used to back touring American artist round the UK in the early 70's In one northern club the Entertainment secretary got up to introduce the act. " Now at great expense we have for you tonight Four Black guys from America, they're not my cup of tea but you might like them, Ladies and Gentlemen - The Four Tops". Another storey to add to that, as part of their act the band would start up and they would file out dancing from a stage side door through the audience then come up the steps in the centre of the stage, split off into formation and start singing, One night the Roadie decided it would be funny to take the steps away. They came in as usual then had to give each other a leg up the 4' high stage with the audience in stitches.

The One that use to crack us up was End of the night the Club secretary would get up on stage and take the Mic to thank the band then say. " Next week we've got a really good band......

Turn your bass up, then use a lighter touch and play closer to the bridge. Some of the above may work. Are you grouping these 4 x 4 in a bar. I tend to say Mississippe to myself to keep track = Mis-sis-sip-pee, Mis-sis-sip-pee, Mis-sis-sip-pee, Mis-sis-sip-pee, Ya I'm Mad, but an old MD gave me that and it stuck

Do you just need reassurance that they are correct? It’s been years since I played in an orchestra, but the whole piece will be in concert pitch, as a piano and as your bass, so you play a 'c' and you get a 'C' Brass Trumpets and Trombones are Bb instruments so their parts are written in a key that will sound correct when you all play together. As with the Eb instruments. Most orchestral parts for trombones are in Bass clef but occasionally Tenor clef and also Alto clef. This is a head ache for the player but it will be scored so the orchestra is in concert pitch when the piece is played. Hope that’s what you wanted

Just had another couple of listens, like the making of. Is Cold hands a number you have already done as a band electrically and adapted for Brass band for the energy? If so have you changed your approach or part to accommodate the sheer power of the lower brass instruments? Just curious All the best it deserves to get noticed

Really impressed, well done. sound is great it works very well. Post some more info, how it was recorded, seperation and takes etc. equipment used, was that a complete run through. About ya band and are you hoping to do this live soon. All the Best

Starting with JJ Burnel, from an interview he stated he played most of his Stranglers material through his cab with one ripped speaker cone, apparently he and the others likes how it farted and broke up at volume and it became his sound. As Conan said Tone is actually volume, need to think of a graphic how each frequency is attenuated compared to another and its 2nd,3rd harmonic etc. It all starts in the fingers, strings, pickups, wood, preamp, amp n speaker cab. Then there is the jolly old room to bugger it up. I have often wondered how Pro guys feel about leaving all that in someone’s hands, maybe just hearing it through in ear monitors and wondering what it is like at the Back. Thinking of Guy Pratt on the Floyd gig, you can't even go and hide or wallow in the warmth of your Rig. A good tone makes me play well a bad tone leaves me tweaking all night and not concentrating on my playing.

Yes Chris-b i believe you are right, how your brain is wired is what marks us out between Technicians and gifted artists.