AntLockyer

I've printed out a 24 fret 6 string board, might as well learn them all just in case. Going to write out index cards too like Anthony has.

Good morning. I use an EBS Reidmar head and I currently have the Genz Benz cab. I like it, my only criticism might be the size of it but even then no big deal. For every gig I've ever played the highest I've had the amp turned up to is a little under half way. Indoors I barely get up to 9 o'clock. So plenty of headroom and can provide all the bass or midrange I'll ever need. My dream setup based on what other people sound like through it would be an EBS 350 head through a Proline 4x10. Again waaay more volume than I'll ever need and it'll be idling. So the question really is, how close is the Reidmar and 2x10 to the dream rig and Given my current usage will the 2x10 suffice (outdoors we are generally through a DI and I only play small rooms otherwise). My current gig is a blues band, heavyish drummer, but the 2 guitarists only use fender valve combos.

Anthony Wellington asked this question in a clinic he did in New York recently. His test was starting at the highest note on your bass (in his case a G) play all the Gs or all the As or F#s etc. do all the ones on the highest string first then move down to the next string. He played it to a click set to 100 bpm one note per click Yesterday I couldn't do it at all, I knew the business end only and even then the E and A string better than the others. Today I can play all the Gs at 60 bpm which is a start. I find it much easier on my 2 octave bass, it is almost like I have to learn it twice, once on the Aria and then once for Fenders. A long way to go but this is the first drill I've had for a while that really makes me feel like I'm improving.

The silks sort of match the paint. [attachment=191462:2015-05-07 13.33.35.jpg]

Put a set on the old clunker. Not made me sound like Pino, but they do have a wonderful warm fundamental which is different to the dirty thump I was getting with the 15 year old Chromes. Truss rod needed nearly half a turn looser.

Me too

I'd stick with rounds on the Wal. I never really enjoyed the Ti Flats they were low tension for me and my sloppy technique. I might revisit them on my early P though. I've got rounds on my other P and I think it really needs to stay that way for the variety.

Thank you, I really felt liberated when I sold my last pedal.

[quote name='Bass Pedal Geek' timestamp='1430856713' post='2765365'] it certainly has a more bright sound and presence than the other basses. I must admit, though, that it's not my main P bass anymore. That would be the 3rd 79 - partly due to the sound, but also to the fact it has an A-neck. :-) [/quote] My 60s one has a C neck and feels gigantic. Really liked the 70s one I tried, narrow nut but really deep neck, maple board too, sounded great.

Played about this evening and I can get the sound I'm after I'm still wondering if there is something else that I'd get by just sticking the pedal in the chain.

[quote name='Rumple' timestamp='1430851805' post='2765270'] I'd like to see Pino play with John Mayer. [/quote] Me too, Steve Jordan is one of my favourite drummers as well.

Yes a real shame, would have liked to have seen the shows with Pino on board though.

That is my favourite of all the sound samples.

Had decal adhesion issues. Started sanding the clear and lost a bit. Have stripped it off and will start again. This time I'm going to use the watered down PVA trick to get more adhesion. First things first, try and find the guy who made the original decals and give him some more money.

Been listening to the album for a while now and always assumed it was Tim Lefebvre on bass. today I looked up who played on it after really enjoying the playing again. Pino Palladino: bass (1, 7-9, 10); Bakithi Kumalo: bass (3, 4), George Reiff: bass (6); Dave Monsey: bass (2, 5); No bloody wonder I thought it was good

[quote name='cheddatom' timestamp='1430831094' post='2764961'] If you can't get the sound you want from your amp, then some sort of tone shaping pre-amp is what you need. Whether it's in the bass or not shouldn't really matter, that's just your preference. I'd play about a bit more with your amp, you might be able to find the sound you're looking for [/quote] I guess that is the thing. I think I have a sound that is pretty close but do not know if I'm missing something by not having an Active P style bass or a pre amp. I had a Sansamp and that did not add anything I wanted.

[quote name='Happy Jack' timestamp='1430828605' post='2764924'] whatever it is you're trying to achieve. [/quote] Yeah I guess that is the first thing to address. I love the sound of a Sadowsky PJ into an EBS rig and would like mine to sound more like that. And I would never mix P basses with Aria on the same gig.

A few things happened which made me think about active basses and outboard pre amps. I currently run my basses direct into my EBS Reidmar (2 passive Ps, one old and one new, and my Aria) and can shape the sound from a subtle mid push to a full on honk fest. The sweepable mid control is great as is the 1 knob compressor. I've been thinking about a more modern sound for a while, and my late model P has rounds on it and gets pretty close. I was listening to Jeff Beck last night and Tal's PJ sounded wicked (through her EBS rig). So onto the questions. Am I missing anything by having my passive basses straight into my EBS? I love the simplicity. Would an external pre be a waste seeing as I think only the newer P needs anything with the Aria already being active and the 62 being awesome already? Would an Aguilar or Sadowsky be better suited? Obviously Tal's PJ has a Sadowsky pre inside it. Anything else I've not thought about?

It took 2 attempts. The offset body bit still isn't right but it'll do. [attachment=190986:2015-05-01 11.08.53.jpg]

Playing with the decal location. I think I'm going to move the offset contour body part to be more correct. [attachment=190984:2015-05-01 09.49.15.jpg] Like this

Halfords car spray cans, this is appliance white which is the brightest white I can find. The antithesis of aged nitro.

Pretty good session last night. The highlight was playing Albatross for the first time, with some very talented guys who are a lot of fun.

Zombie thread. What happened was the silver paint bloomed badly so I stripped it all off, then I started to strip the poly finish off and got side tracked. Today I made a decision to not do silver (as Squier do one now themselves) and do white instead. Wasn't sure it would be good with the maple neck and I'm still not sure. Decal might go on tonight.

First things first I am not a regular church goer and wouldn't describe myself as being part of any organised religion. With that said I really enjoy listening to modern gospel music. I was discussing with my friend yesterday about the talent that some of those guys possess and how you see a lot of Gospel players being really great at their craft. He introduced me to some other devotional music from other places like Pakistan that was equally as skilled and powerful. I came to the conclusion that these people excel because they have a higher purpose than entertainment or just telling a story. They are telling THE story (for their beliefs) and the better a job they do the better they are in the eyes of their deity. I wondered how that fit it with my life and experiences. When I am in the house band at a jam I'm not giving my all to anything. I'm merely providing a simple canvas to make the other guys sound good. I'm not making it the best it can be, I'm not trying to make people feel amazing or spread the word of anything. Playing in the band is a bit different. I do give it my all in that setting but my all is only a sum of my practice and attitude at that time. It still is about making the band leader sound good. I decided I need that devotion in my musical life. Not by joining a religious group but exploring the ideas of a higher place being found through excellence and the spreading of joy. Always doing what I can to be the best I can be at all times. That started last night. I made a commitment to be 100% present with anyone I played with. To be 100% of the musician I can be at this time given my experience level and knowledge. It was a resounding success. My contribution to the music was greater. The music was greater. The joy was greater (me, the other musicians, the audience). I heard the music properly for the first time and gave myself to it totally. The next step is to really focus my practice to being better at that. It is no longer about just doing exercises or playing the same songs over and over. I am fully committing to learning the theory and performance principles I need to be as good as I can possibly be and I want to realise my full potential. I wanted to share this, I've not heard it talked about before and you may get something out if it.