algmusic

[quote name='Bilbo' post='1016574' date='Nov 8 2010, 05:02 PM']All this 'groove is king' stuff is missing the fact that grooving is as theoretical a concept as advanced harmony. Making a good performance great is about a wholistic approach to the music. A great groove with a few bum notes is a flawed a result as all the correct notes and no feel. Groove is theory. And maths is art.[/quote] I disagree grooving is theoretical.. I had a student that was grade 6 and the friend of mine had a student that was grade 8. The grade 6 student was ALWAYS used for gigs and he never played a wrong note, but he played with feel. I'm not excusing wrong notes.. It's the reason why people hire bass players and drummers instead of using midi/electronics.. That stuff can't groove like humans...

I was very hesitant to comment on this feed.. Bass is my second instrument and I would say I have much more theory knowledge in drums. However, The biggest part of my playing is groove on both instruments.. I would spend hours practising the simple things well and make the simple things 'feel' good, then gradually build on that. The focus is always the feel. Music is art not maths. When I learn more theory. I learn the theory.. then make it groove otherwise it's just theory.. All the top players will tell you you gotta be able to play the simple things well.. that's what pays the bills and think that this really over looked especially in the bass.. Your a good player when people notice that you're not there. I know some very technical players that are still trying to find their groove or don't realise they have none and can play some very complicated pieces, but it doesn't feel good.. When I teach I get the players with natural feel and emotion in their playing to get some theory in their arsenal to enable them to do more as I found personally, it helped me alot and for those that were great readers and could play anything thrown at them, i'd get them to throw away the book and listen.. and feel the music.. To be honest it's hard for both sides, but I think you can teach both, but with some it comes more natural than others on both side.. There's plus on both side of the coin. If I had to live with one, it would be groove for me as my Theory builds on the foundation of groove which is what music feel good. That said groove without control is a mess.. In a nutshell, you really need groove and some theory...

[quote name='razze06' post='1013072' date='Nov 5 2010, 10:44 AM']So i've owned this fender aerodyne precision for a few years now, it's beatifully finished, nice action, good neck, well balanced and weigh just the right amount. However nice it is, I often leave it on the guitar rack and pick up something else for both practices and gigs. Moreover, when I do use for practices or gigs, I find myself disappointed with the tone. I am particularly annoyed by the fact that the signal from the soloed p pickup is much stronger than the signal from the soloed j pickup, effectively denying me the option of switching to a jazz-y sound whitout changing bass. Also, the tone of the p pickup is a little off to my ears, and tend to get lost in the lower notes. So, instead of selling it and buying another bass, I was wondering if you could suggest some simple mod I could do to it to improve the tone. I'm not into active basses at all, so I was thinking about a pickup replacement and/or a different circuitry arrangement. Suggestions? Recommendations?[/quote] I'd get the PUP's looked at, I find both of PUPS at about the same level..

[quote name='ThomBassmonkey' post='1011487' date='Nov 3 2010, 11:08 PM']I'd always go for a good amp. Your cab undoubtedly adds more to the sound and if it was just a case of "what would you pick for band practices" then sure, but in the real world having a good DI on your head is important and I've never seen bands share just heads and use separate cabs. For recording, most studios will have cabs you can use or you could DI from your head. The head is also the more expensive part of your kit anyway, so it's worth splashing a little extra on in the first place so that later you can just upgrade your cab. Chances are that if you spend more on a cab with the same budget, you're going to end up with mid-range with both and need to upgrade both in the future.[/quote] +1 I love my my cab, but my amp is what the audience hears in via FOH.. the only time my cab shines is in small gigs or recording studios and I do much more PA assisted gigs.. It's about the sound to the audience that counts..which is the head.. That said when I changed to orange, I did change the cab 1st.. ;-) I still think amp.. hence why in the past I uesd my sansamp alot till the Terror Came along :-)

its sounds like you need the markbass 1x12 combo and an additional 12 for the bigger stuff. If you're using PA the 1x12 should be fine, if not add it after you have a few gigs.. 12's are made for DB's.. the 10's lack the warmth you get from the Db.. a 12 is on my list Also of my friends use them..

It's sounds like you should get the J then later get P.. I never would have called myself a Jazz fan, but I have two now.. that said they one has a P/J PUPs (aeordyne) and jazz roadworn, which sounds like vintage, actually better than some actual vintage ones I've tried.. The music I play is varied, from rock to soul to folk.. It's verstile. I think the J's sound better with acoustic guitars.. A P, rick or MM is the next bass on the list

[quote name='BurritoBass' post='1006948' date='Oct 31 2010, 07:59 AM']Lozz does play with the loudest drummer on the planet! [/quote] I don't remember playing drums on that gig :-)

[quote name='Lozz196' post='1006617' date='Oct 30 2010, 07:38 PM']Amps Marshall DBS 7400 Orange Terror 500 (bought today) Cab Marshall VBC 412 Got the Orange for practices, save lugging the Marshall about. Tho if the Orange sounds either as good or better than the Marshall, the Terror will be amp No. 1.[/quote] Welcome to the OTB group.. if you love valves.. you'll love this badboy and you back is saved.. I mine take my everywhere. The ad200 is on the tour list.. and only on tour.. I'm not that big ;-p

[quote name='warwickhunt' post='1004951' date='Oct 29 2010, 11:42 AM']If you want one, it needs to be top notch and you want it NOW, then I'd get one ordered (to your requirements) from Dave (OBBM). However, if you've got time to gather the cables, connectors soldering kit etc and do your own, then that can be satisfying; though the initial outlay is expensive. Alternatively watch on here or eBay for folks selling 'as new' (don't buy really old cast-offs from other people, it's a false economy) quality cables such as the likes of Spectraflex.[/quote] +1

You have 3 options really Yes, No or Haggle.. Yes, he is taking the piss, but if the re sale price is how much he's offering he's entitled to do that... (but it's not really in the BC karma) You never know what's happened, he could have just release he has massive tax bill or his boiler just has broke etc.. If I really want it and it's good price, I'd haggle to the the original price I wonder if the seller is reading this thread ????? :-)

Shame you're so far away.. sniff sniff

Hi I do a few recordings for bands/artists remotely and to be honest the best way to start is getting an usb audio interface, if you get a two channel one it means you could record the bass DI and via a mic if wanted. It will sound miles better than using mic input on the Mac. I had a macbook for years and now have a pro. You get a reasonable sound through garageband and then when your ready for a better sound get logic.. but it depends on how much you record as it's pricey £300, but you might be able to get a second hand/older version one for a fraction of the price and logic is much better. However, a good audio interface will make a big difference and is the best start, get this right and you won't be disappointed and you won't buy another one later When I record I might DI straight frm my bass, via my sansamp, and or a AKG D112 mic, but to be honest just DIing first will get the ball rolling. Recommendations for interfaces would be the Tascam £99 or M audio£139, both really good. [url="http://www.dv247.com/computer-hardware/tascam-us-122-mkii--67856"]http://www.dv247.com/computer-hardware/tas...122-mkii--67856[/url] [url="http://www.dv247.com/computer-hardware/m-audio-fast-track-pro-4x4-mobile-usb-audio-midi-interface-with-preamps--29998"]http://www.dv247.com/computer-hardware/m-a...-preamps--29998[/url]

[quote name='davebass66' post='973764' date='Oct 1 2010, 11:53 AM']Ok I am finally a Stingray owner!! I used to lust after these as a kid but never got round to actually buying one....I forgot how much i love them until i played this one in a local music shop yesterday.....Needless to say I bought it there and then! It was listed as '95 but as you can see when i took her apart she dates '93.....Few dings on her and a v well aged neck which works for me as I wanted something a bit mojo'd! Lovely flame/birdseye maple neck.....weighs in just under 10lbs..... As soon as i put the string mutes up on the E and A I knew it was the sound i've been searching for for sometime....Twas a good day! Hope you like [/quote] Is that bad boy coming to my birthday mate?

[quote name='Musicman20' post='972532' date='Sep 30 2010, 11:54 AM']All of these reasons on positions is what made me want to go for a 5 string. I think being able to swap comofortably between 4 and 5 strings is perfect. Its finding the 5 that works for you thats the hard part. I try to give equal attention to both at the moment, and practice more at home with the 5 as I now want more 5 string basses.[/quote] 5 strings are a funny one for me.. I started on four then moved a 5 quickly, then I matured as a player and moved back to the 4. I'd only use/borrow a 5 if I REALLY needed that low B, as the tones on the 4 strings just feel better. I'm a passive fan and the 5's need an active circuit IMHO. I have 2 4string jazzes at the mo and I hate the 5 string jazzes. They lack the one of the 4's.. When I buy a 5 I think I need to look for different sound like the Sei bass. Those are louuuuvley :-)

[quote name='Musicman20' post='972414' date='Sep 30 2010, 10:04 AM']I wouldnt worry much about the mid control. Your amp can deal with that if necessary. That Schroe cab throws out the mids anyway so youll be fine. The BDDI is, I do believe, their biggest selling bass product because it not only gets the job done, its small and fairly well priced. If I had the choice between BDDI and Para id go BDDI, because the inherent tone of the BDDI is that quite compressed slight mid suck 'SVT being pushed' tone. Turn the gain up and its very tube like....even just a hair is nice. Ive used mine through countless PAs without a backline because of space when touring and because the less we took, the less problems we would run into.[/quote] +1 The mids are fine, the blend helps with that and the way you use the bass and treble adds some of the mids... I did a earlier in the year and played through a very tastey SWR vavle pre amp with 6x10.. I thought it sounded great for the 1st set.. for the second set they moved the bass amp we ran out of time to move it back, I used the sanamp just as a DI, and used a wegde to hear myself and everyone inc the sound guy said it sounded miles better.. I don't leave home without it unless I have my own rig.. and sometimes, it's a great spare amp too :-) I'm interested in the mxr bas Di, as a lot of people say it's better, I just haven't tried it yet. They are also built like tanks.. My friend has one and he's had it for years and he's very 'heavy handed', it still works fine.. he never borrow my gear though :-)

[quote name='JTUK' post='971796' date='Sep 29 2010, 03:37 PM']Yes...you might like himm but you may still have to tell him no. A good idea os some respets but I'd only do it this way if I was pretty sure the playing side was right. When we put our latest unit together, we meet round someones house and bashed away acoustically..and we made it clear that this would be the basis on whther to proceed. It worked really well..so then we went to the drummer stage.. ha ha !! For my next unit..which will supplement what I have going as my mani band.. I will pick off a few guys I have played with in dep bands and build from there. I already know the gtr I am going to build this one round.. and probably the singer and keyboard. The work load will not be massive...good gigs when everyone fancies it as they all have other stuff to tick over with.[/quote] +1 That's how I've got all my work and usually do it myself.

[quote name='mikegatward' post='971750' date='Sep 29 2010, 02:31 PM']A slightly different slant on auditions. My band lost it's singer so I advertised in the usual places. From the small number of replies, I invited a guy to the next rehearsal and gave him the current set list and said to try out 3 or 4 numbers. So we all turn at the rooms at the usual time except for the drummer. I introduce everyone to the new guy and then say "Where's Ivan ?" (drummer). Turns out Ivan is trawling round Leeds trying to find a spare key for the rooms cos he's lost his. And yes, he's the only key holder. She's very sheepish when he lands back to tell us there's no key. Very embaressing with a new guy in tow so I apologise profusely and suggest we go for a pint. The net result is a very positive and productive hour spent getting to know the guy and him getting to know is. There's clearly a personality fit and a fit in terms of musical taste. Of course we've not heard him sing yet. But next week, he'll turn up in a less nervous state than he would have done having at least got to know us beforehand. Hopefully, we'll all get the best out of it. I think we'll do any future 'auditions' this way. I know people will say some of this can be sorted on the phone beforehand but invariably the contact tends to be between the applicant and the advert placer - not the rest of the band[/quote] I think it's a great idea, but not to be devil's advocate, I've met some nice guys who are not good enough for the project or band.. On the flip side I've met a great musos who are a pain in the butt :-P

The more you do it, the better you get.. forget the eq and signal correction stuff and just start gigging and practice, your confidence grows as you do it more.. You'll be fine

+1

[quote name='Lozz196' post='969375' date='Sep 27 2010, 12:39 PM']I think the thing about this is, its a question of timing. At an audition, you are trying to gain a position in a band, therefore you ask what the requirements are, and, will you have licence to improvise/change parts, once you are fully up to speed with the existing songs, and, will your input be sought on new songs. if the answers aren`t to your liking, well the band have failed you auditioning them. But I`m a firm believer in learning something properly, before trying to change it, and also, only change it if necessary, not just because you can. The word being change, not improvise. Back In Black by AC/DC could be vastly changed, but would it have improvised it, with the song retaining the same feeling?[/quote] +1 too ,many people change things with attitude that they know better.. try it first, it might work.. If you're joining a band that has gigged for a while.. you need time to know the band and what works, then if it sounds right you could change it within that vibe and you're style, but if that causes too much conflict, you're in the wrong band.. just make sure it needs changing and you're mature enough to leave it as it is if it sounds great.. I heard something from Steve Gadd.. you don't like what you're playing... start your own band

I've got a Terror Bass, which I love and which I use with the sp210 on smaller gigs and then add my markbass 1x15 for a bit more bottom end. I like the sound I get I'm not sure if any TB users have done this, but I'm thinking of replacing the markbass cab with an orange for the complete set.. I'm a bit reluctant getting the 1x15 as I think my sound might get a bit wolley, as the MB gives controlled bottom end, so was thinking getting the sp212 and running the 210 and 212 together.. or should I be looking at the another 210? has anyone done this?