acidbass

The difference that the braided cover would make is essentially negligible in a live performance situation. You'd probably need to record very hi-fi samples in a studio to hear the change in sound! OBBM gets my vote

I'm not quite sure, I think the Geddy neck is based on one of Fender's other profiles but it's certainly slimmer than any other Fender neck I've ever played. I think you can get the specs (such as radius, nut width and thickness at nut and heel) on the Fender site, so it might be possible to match as best you can to the Allparts ones?

The Geddy Lee is without a doubt the most comfortable 4 string neck I've ever played! If I was buying another Jazz, I'd have it replicated by a luthier, it's that good!

[quote name='wombatboter' post='301522' date='Oct 7 2008, 05:01 PM']I loved it (was introduced to this album through a tv thing with Steve Coogan in which he plays a dj : Not really obvious stuff for Belgian viewers...:-))[/quote] Alan Partridge! Brilliant show, that clip still cracks me up

[quote name='squire5' post='288711' date='Sep 21 2008, 07:58 PM']The solo from the middle of "Bouree" by Jethro Tull.Glen Cornick magic![/quote] Ah what a BRILLIANT piece! I remember spending around 2 days working out the whole thing, chords and all, around 3 years ago coz I couldn't find a decent transcription anywhere! Still love playing it to this day My 'show-off' pieces include: - The Who's Won't Get Fooled Again (live at Shepperton Studios version, the one with the isolated bass) - Jaco's Donna Lee (first minute or so anyway) - Stevie Wonder's Sir Duke - Jamiroquai's Too Young To Die

Janek's a member of these boards under the name gwizmon, he posted something similar the other day in this thread - [url="http://basschat.co.uk/index.php?showtopic=27567&hl="]http://basschat.co.uk/index.php?showtopic=27567&hl=[/url] +1 on his standard of musicianship, I'll be checking out a few of these recordings in the next couple of days!

Very dark looking! Great shots mate

Mine is currently an 8 piece, although we've had it as large as 9 and as small as 6 over the last couple of years. It's great fun being in a bigger band, so many more sonic dimensions (although that's to be expected when you include mandolin and concertina!) Danny

The INFAMOUS Loud cabs always make a reappearance on these forums from time to time! I first joined the old BW just after the whole Loud scandal hit - I actually live just half an hour away from Stephen Kennedy, it's a shame I didn't join sooner or I'd have been the Northern Irish Private Investigator (NIPI?) Great cabs though, I haven't heard anyone who actually received them say a bad word about them

Hello all, I just have the new Kings Of Leon album playing now on my stereo, what a fantastic album! The bassist's lines have become a whole lot more complex since their first album (at the time it was recorded he had only been playing bass for 3 months or something ridiculous like that!) They must have picked up some Joy Division albums somewhere along the line because the basslines are pure Peter Hook, I was almost going to check the sleeve notes to see if he featured on it! Definitely a great change from the over-produced, over-rated effort that they released previous to this. Anyone else heard it? What do you think? Danny

The Who - My Generation, either backing or lead vocals will give you a good workout!

[quote name='Hellrazor' post='235633' date='Jul 9 2008, 12:20 PM']I lent a bass to Danny McCormack from the Wildhearts once. Does that count...?[/quote] I hate having the same name as another famous bass player! You wouldn't believe how confusing it gets

Do you play upright? A lot of theatre scores require the use of bowed notes, lengths of which you simply cannot achieve with a fretted electric. Maybe one of those electric uprights would be a more fitting solution if you were comfortable with it?

John (I'm Only Dancing) has a fantastic melodic bassline too, I can't believe no one has mentioned it so far! The runs in the chorus are very McCartney-esque +1 to this thread

Actually, the Hartke strings are considerably cheaper than any other brand and comparable (as mentioned) to the likes of Ernie Ball.

That's terrible news. I noticed he hadn't be around for a while, he was a great character back in the BW days. RIP

I'm very impressed with mine for the price. I just stick a new set on before every gig and they sound as good as any other brand IMO!

It's one of the solid state models, not the more expensive valve ones. £80 is still a great price for it though, if it doesn't rise much higher than that then you're getting an absolute bargain!

That Brian Fox video is HILARIOUS! He looks more like Anthony Kiedis after a few pies. Regarding your bass solo - I've listened to your bands a lot on Youtube and the like, WoT, and know that a bass solo seems like quite an epic prospect for someone coming from a folk-rock background (hope I haven't pigeonholed your style too much with that comment) I've been presented with a similar challenge in the past and found that listening to some Jethro Tull and Fairport Convention live stuff helped me a lot. My suggestion would be to learn the chord progression as arpeggios, add in the passing tones between the chords in whatever key you're playing in, and add/subtract from there. Double stops are definitely your friend too! Hope this helps, there's been some great advice in the thread so far, I'm just augmenting it (pun very much intended ) Danny

Are your speakers passive? If they are, I'd recommend actives - although they are slightly heavier due to the inbuilt amplifier, it saves you bringing seperate amp racks and so there's a lot less lifting overall! You can actually get really decent active speakers nowadays too which makes this switch a whole lot more attractive. EDIT - just as a reference, my band uses [url="http://www.djkit.co.uk/product.php?id=1313&cat=237"]THESE[/url] for most of our live gigs, and the sound is unbelievable! Granted, they're a bit on the expensive side but when you're buying seperate amps for subs, tops and mids normally - you're saving a lot less overall.

I kinda wish I'd kept my first ever bass (a 3/4 scale Encore P Bass copy) just for sentimental reasons. It sounded absolutely brutal, and looked like something you'd buy out of a toy shop, but if it weren't for that little piece of wood I wouldn't be where I am today!

I haven't read the article yet, but I've always subscribed to the theory that tone comes from the player and not the bass! Cheers for the link