synaesthesia

[quote name='Stingray5' post='552764' date='Jul 27 2009, 03:53 PM']"...it's one of those [i]typical cheesy 80's tunes[/i]..." ??? er...I beg to differ! I know the 80's had it's fair share of cheesy stuff - as did the 60's/70's/90's and now the noughties - but 'Broken Wings', for me, ain't one of 'em. Come to that, I'd have to say neither is their other classic track, 'Kyrie'. But you're certainly right that it's a simple yet effective bass line. p.s. - IMHO [/quote] Britain being the home where novelty songs can top the charts, this song is well off the cheeseboard. Quasi religious, maybe, there were a few in the 80s, ... but fromage is Simon Cowell in a dog suit doing the bow wows.

Here are more pics of the K & M, but you'd be a fool to give this 'shoppe' any money for the same or same sort of thing. [url="http://www.contrabass.co.uk/folding_stool.htm"]http://www.contrabass.co.uk/folding_stool.htm[/url]

I do this all the time. My big rig is tri-amped and used to be a quad amp set up. In that rig I use a DBX speaker management system and it all fits in a 8U rolling rack, including power amps. I use the large rig for showbands, disco bands, motown party band work. My small 2U rig now feeds a 1x15, and 4 X 5 in a vertical array, in two separate boxes. The preamp is an Alembic with a crossover (12db Slope) and I use a 1U CARVER Power amp. I use this mostly and it will do most of what I do, which is jazz trio, quartet, quintet, or small pop/country outfits, which 90% of what I do. Sometimes I use a different 3U rig for EUB, which has a READ preamp or RANE AP13, a DBX crossover, and a Carver poweramp - same idea but diff. components, better crossover slopes, but 1U more. The latter works better for Piezo pickups as I can shelf off the subsonic low end with the DBX crossover. I use the 3U rig to feed the same 1X15 and 4 X 5.

Shame. Met him a few years ago. RIP, Nicola

[quote name='rslaing' post='495908' date='May 23 2009, 11:18 AM']Remember, the topic is all about "The most accurate tuner"[/quote] So flog me or send the police. There is no point in having the most accurate note tuner if the whole instrument, as a musical instrument cannot cope. You can Strobe tune all you want, ultimately all you are ever doing is identifying a start point to which the rest of the instrument needs to be referenced to.

Frankly, it is probably more possible to play more in tune with a washtub or tea chest bass with one stick and one string than on a Fodera fretted bass, i.e if you have a good ear. An electronic tuner only contributes a point of reference as far as common well tempered fretted stringed instruments are concerned - a tuning fork or pitch pipe will can also provide the same function of a reference point. Beyond that, it's set up and then touch and ear.

[quote name='rslaing' post='495839' date='May 23 2009, 10:08 AM'][i][/i] You are spot on with this. But if you read the answer as to why precise tuning is important to the ear, and I don't mean "exact" tuning in the sense of A5 having to be twice the hz of A4, (which is what a bog standard tuner will do) the Peterson explanation in my previous post explains why, and backs up what you are saying in a more detailed way.[/quote] Preset temperaments are averaged to common set ups. For an electric guitar or bass, or other stringed instrument, the action, the gauge of the strings and the player's attack are also important components to a musical consequence. SRV's strat was unplayable to most other players because of his set up, and the oft- quoted remark "it's in the fingers' is true as many players touch and ears work together towards musical consequence, as opposed to being mathematically tempered in tune. edit: I should add the height of the frets affects tuning as well in tandem with string type and fretting pressure.

The obsession with tuning accuracy is overvalued in this context. The answer is always moot if it is a fretted stringed instrument that is tuned to tempered scales. You can tune a single fretted note with average plucking intensity as accurately as you want, but the instrument will be out of perfect tuning to some degree elsewhere on a fretted instrument, and hard attack on the string will result in a momentary sharp note. The accuracy of tuning on a fretted instrument also depends on the action, and the bow of the neck. The ear can accept some 'give' in musical contexts, which is why chorusing is popular and can sound 'rich'...and which is why the most common electric guitar, the stratocaster, where perfect tuning is further compromised by spring loading the tailpiece, is never in perfect tuning anyway.

[quote name='OldGit' post='464211' date='Apr 16 2009, 05:49 PM']OT: OP Got a link?[/quote] [url="http://control.wf247.com/ASP/ENews/EnewsTools/ToolsPreview.asp?S=474853&C=8C472E8381A21&L=5150"]http://control.wf247.com/ASP/ENews/EnewsTo...1A21&L=5150[/url] [url="http://www.ld-systems.com/index.php?article_id=34&clang=1"]http://www.ld-systems.com/index.php?articl...=34&clang=1[/url]

There's a sale at Adam Hall on LD stuff. They make PAs, but they also make (or rebadge) various bits & pieces that may be of interest here. e.g. AKG style wireless , sale price @ 75 squid 1U power amp (IIRC 1000W at Ohms or so, work to 2 ohms in stereo) sub 200 squid. check it out.

[quote name='Clive Thorne' post='463327' date='Apr 15 2009, 07:22 PM']Perhaps the prototypes were made on different machines to the production parts, or perhaps it's a quality control problem, perhaps tahy made the prototypes and 'outsourced' the production. Who knows? At least they seem to be doing the right thing now.[/quote] Neutrik moved all their manufacturing to Ningbo years ago. Switchraft used to use negative advertising to make fun of Neutirk Ningbo plant. Before all this current China investment craze, German industry has always had a foothold, and they have been there historically, though this is not a well known fact in the Anglophone world. In Beijing and you will see a strong German industrial presence. Tsingtao beer, the standard chinese beer, is brewed with German investment & technology and has been for ages.

[url="http://www.audiospares.com/product.php?productid=853&cat=22&page=1"]http://www.audiospares.com/product.php?pro...t=22&page=1[/url] Audiospares should have insert cable as well, if not they will have converters or adaptors that will work. Their prices are very good.

[quote name='XB26354' post='456487' date='Apr 7 2009, 03:13 PM']Saw him year before last at Ronnie's with Anthony Jackson, Dave Weckl and Eric someone on sax. Great, great playing but I can't stand that horrible chorused guitar sound. He had stereo amps and it still sounded thin and crappy. Each to their own I guess but I can't imagine why anyone would like that sound and continue to use it for 25+ years, especially someone with so much talent - guess he likes it![/quote] Marienthal. I guess saxophone players don't matter much in the world of electric bass players for whom Mike Stern is so high up on a pedestal. Good player, but it quite obvious where the slant is on this forum. FWIW, I have been listening to Mike Stern since he was with BS&T, and I've met the man with Dennis Chambers in '93. Again good player, but all this "you don't like or don't know Mike Stern?" bashing is amusing to say the least in the face of 'Eric someone.'

I don't know where the jazz jams are these days, but they are a good place to meet other musos of various capabilities. When I lived in Madchester in the early 90s, I used to go the PJ Bells Blues Bar which was great for networking. met several musos, got some work , did some recordings, brought a mate of mine down, he got work - did a short tour etc....They were never really proper jazz jams as the great equaliser was to play vamps over which you take extended solos.....Depending on what you want, you can find a conversation on how to navigate Cantelopue to Giant Steps, Got a Match to how chick Corea does someday my prince will come.

[u]Budget[/u] EUB for Arco = oxymoron Some of the better EUB makers will tell you not to rate their instruments for Arco at all. Have a look at Alter Ego - their cultural environment is less pizzicato jazz/bluegrass and they made these to be credible arco EUBs. Expensive though. [url="http://www.alterego-instruments.com/index.php"]http://www.alterego-instruments.com/index.php[/url]

There are two ways to be a jazzer. One is to be a jazz snob, and the other is to be an open minded musician. Most jazzers are somewhere in between,.....Nothing really really wrong with either in regards to making music, but there is a proclivity towards closed zeitgeist in the former. There you'd have your Wynton Marsalis, your early George Benson, your Bitches Brew haters, your neighbourhood geriatric dixieland band etc....and on the other corner you'd have your later George Benson, John McL, Chick Corea, Herbie H, Brecker Bros, Steve Swallow, ... Either way you cannot help but dive in and immerse yourself into jazz history. When I was learning music, I had a mate who conversed with Larry Coryell and he wanted to know if he really needed to learn early jazz forms to play jazz fusion. Coryell had a lot to say about learning from Jazz history. It's a lot of splashing about when you start but learn who's who, who's done what, learn the common forms, the phrases in various modalities of 'jazz', - this is not to suggest that you have to perform historical jazz, but you be a lot wiser as a contemporary musician. Many musos are locked on one side or the other of the blue note, some are still on the b5 side of things and the modern lydian mode fellas don't know that the #4 was never the dominant tonality in early jazz. If anything irks me is the limited view most so called jazz musos have. Mention latin bass and they can only name Anthony Jackson. It's as if Showaddywaddy were really from the 50's.

[quote name='ARGH' post='454485' date='Apr 5 2009, 07:52 AM']Well,after Jim..who was of a senior generation...Karl was probably abit young (remember his columns on gadgets and gizmos) But he did freshen up the place. Another guy I dont see much of in writing now is/was Dale Titus,where did he go?[/quote] BP and GP have to pander to the American market which is their main market. Too much intelligence was never appreciated either in those rags - Joe Gore tried to raise the level of writing, width of musical coverage in GP - but if anything he only met with general derison for his over use of the word "Catharsis". Still that generation is a long way from when GP started and when the interviews were "what kind of pick do you use" "what strings do you use" etc etc To which the likes of E Clapton would give a one word answer like "Ernie Ball". I liked the early - mid 80's best when their GP issues were almost as thick as Playboy and had long articles worth reading, long interviews justifying the cover. Since 2000 or thereabouts I have always felt the articles to be too short to be worth shelling out any money for. I don't know why they do it - you could probably read it all at WH Smith in a few minutes without buying it. You can also read the articles full online these days...

If you are looking for a narrow and thin hollowbody EUB there are a few about. Knutson make a good one, and Clevinger make them too. Azola gives great customer service. The Eminence is good but many people don't like the lacquer on them, or the type of shiny lacquer on them. I use a BSX Allegro myself which is a RN narrow and thin hollowbody spruce top EUB.

[quote name='ARGH' post='454427' date='Apr 4 2009, 11:50 PM']I wished sometimes Karl Coryat still had the reins after the great Jim Roberts left...The mag was a breath of fresh air under Carl.... He is still longest serving member on the Bassplayer roll of honour. Im happy for Bassplayer.tv to exist,it gives a good selection and interactivity to the magazine.[/quote] Coryat was removed very quickly as he behaved like Jerry Reed in smokey and the bandit III, i.e. scream incessantly " I get to be the bandit! I get to be the bandit! I get to be the bandit!". Too excited about the job and completely unprepared.

[quote name='Prosebass' post='453900' date='Apr 4 2009, 10:01 AM']I'm still buying up old copies of International Musician from the 70's and 80's.[/quote] I remember that. They had an rather incestuous relationship with the circle around Argent. Drum reviews by Henrit, bass reviews by Jim Rodford etc They got into a mess and reprinted reviews in subsequent issues. Bass Player's editorship has changed in a boardroom streamlining scuffle. Bill Leigh is gone. He didn't do much for the magazine but dd a lot with bassplayer.tv - if anything the magazine was further dumbed down under his editorship. J Herrera is the most likely suspect to be the next editor and it leaves the magazine in shaky hands as far as I am concerned. A journalist who writes "capacitors are nifty", and then brags about his knowledge of electronics is a sure sign of editorial decline. Print magazines are no longer the fountainhead of information and have not been for the last 8 - 10 years now. News comes onstream on the net much faster now. Even journo's like Herrara troll the net for interesting stories - Bassplayer claims to be the first to blow open the fake Accuswitch that Acugroove had. But really, there was an article already on that at Andy's Acme site way before BP published it.

[quote name='Al Heeley' post='441077' date='Mar 21 2009, 01:56 PM']I thought craft supplies were going stagnant on their support of guitar building, less and less stock, no-one who is able to answer questions knowledgably, etc. I get my truss rods from Touchstone Tonewoods (and fingerboards too - their ebony and rosewood is usually really nice quality)[/quote] That's sad but true, also you would go there for wood... they have some still. Not the first place I would go for hardware or metalwork.

It is not impossible. I play lefty properly, mirror imaged. I can play upside down lefty generally, and I can play righty a bit but not as much. It is just how I started, I tried both for a while in the 70s, then did lefty upside down for a couple of years, and switched to proper lefty when I wanted to learn to thumb slap the bass. Years later, Jimmy Haslip proved that you could slap an upside down lefty bass. Many a Macca character in a Beatles tribute band - the serious ones anyway - have not only learnt to play lefty, but to play and sing lefty from RH. Nothing's impossible.

The problem is not the EB MM pickup, but the EB MM 3 band preamp which is frankly not a good design. When I first got the EB MM lefty in '96, I remember it left me underwhelmed in terms of output. I replaced the pickup and the preamp and tried various combis - the EB MM preamp is crap for the pickup it has.

[quote name='BigRedX' post='430654' date='Mar 10 2009, 04:16 PM']Really? If I'd guessed I'd have gone for the other way round. That's why I prefer bridge/middle/neck terminology no ambiguity.[/quote] It is really quite common to describe the 'neck' pickup at 'front' and the 'bridge' pickup as 'back' pickup. It's common speak in the US amongst the older crowd, even Jaco spoke like that: [url="http://www.jacopastorius.com/features/interviews/portrait.asp"]http://www.jacopastorius.com/features/inte...ws/portrait.asp[/url] The proximity of the pickup closest to the fingerboard will annoy the slappers who aren't used to having a pickup there; few top shelf basses survive commercially with a pickup there, - the original PRS did not, but RICs continue to do so. They are great for getting the deep tonalties that reggae players like.