paul_5

[quote name='HazBeen' timestamp='1426689487' post='2720822'] I have very low standards [/quote] Me too - that makes me AWESOME!!!! [size=2](YMMV)[/size]

I can play both, and it certainly helps with developing a better sense of harmony (and chord voicing too), but given a choice I'd ALWAYS plump for the low ender - it's just, well… better innit?

You could probably get away with .45 to .105 if the tension is high enough. DR make a range of DDT strings - designed for players who like drop tunings - http://www.drstrings.com/#!ddt-bass/c1ket What are you currently using?

[quote name='Bilbo' timestamp='1426677372' post='2720557'] This can be achieved with cheap gear or expensive gear and is unlikley ever to be a consequence of just 'shopping'. [/quote] This. My current squeeze is a frankenbass that's been routed and tweaked over many months and now it plays like a dream (to me). Total cost of the whole thing is less than £200. Who'd have thought it? I have to say that it really helps to calm the BC induced GAS every time I pick it up.

Horses for courses. I like them (DHA VT1 EQ user here) and the flexibility that they give. They're also a 'get out of jail free card' if speaking from experience) the valve in your amp's preamp goes during a gig - simply take the lead out of the amp's main input and plug it into the FX return, that sends it straight to the power amp section and rescues your rig. None of this affected the sound guy's settings through the PA, cos I was DI'ed out of my pre too. Happy days...

Plus it has the advantage that it's more tax deductable than cheaper gear.

I reckon you might need to try something new; new material, or get a teacher (or a different one) to open up new avenues for your playing. Often players (myself included) fall into the trap of thinking that our gear is responsible for the excitement that happens when we pick it up, when often it's that our playing has plateaued and doesn't excite us any more.

Played a pub gig in Darwen last night - more covers than we'd normally do, but it was a dry run for some venues later in the year who have specified that we play more covers. The odd bit was when the original singer for the band turned up to see us. He was absolutely blotto and ended up coming round in A&E this morning after staggering into the road and being hit by a car. He's fine, apparently it happens a lot... Probably explains why he's no longer the singer in the band.

Wah pedals (and envelope filters, for that matter) sound completely different depending whether they're before or after a dirtbod. The only way to decide is to experiment and trust your ears. That said, it's already been mentioned that if you want the wah sound through the P.A. then you'd need to put that before the M80.

Fnar fnar, snirk snirk etc...

There's not a pre CBS Fender up there too is there?

Yup. Then the drummer ran over him.

[quote name='bartelby' timestamp='1425470588' post='2707608'] Tidying up my parts box I found 10 LM308Ns,10 RC4558s and 3 555 timers... What to make?? [/quote] Definitely a RAT with the 308s. I made one of these, but using a 741 (so took out the compensating cap across pins 1 and 8) a while ago. http://tagboardeffects.blogspot.co.uk/2014/07/idiotbox-blowerbox.html Well worth building - nice and gnarly!

[quote name='Bottle' timestamp='1426112296' post='2714668'] Oh, that's mighty purty [/quote] agreed.

Oooh, can I have yer knobs please?

Nice! I'm in!

Just been pricing up a set of Roto 55SLD strings. it appears to be cheaper to buy them from the states and pay import than it is to buy a British made string from a British retailer. That can't be right, can it? Admittedly they're a niche string and won't sell as many units as say, Swing bass 66 strings, coupled with the extra rolling process during manufacture, but roughly £29 in the UK, and £19 (plus £6 p&p) from the US just doesn't add up.

Randy Crawford is celibate.

Finding a guitarist is relatively easy, finding ones that you don't regret discovering? That's the real deal... Audition them without them knowing at a Jam night.

[quote name='Jonesthebass' timestamp='1425652020' post='2709414'] Know your parts going in. Use a click track. It makes editing so much easier. Play with the same passion as a live show. If your meek and reserved it will show in the recording sounding flat. Solos need to be thought out. Inspiration and improv has no place in the studio when time is premium. Save the beers for sun nite after its all over. Alcohol affects your ears and your perception of frequencies. Be realistic on what you can achieve with 3 tracks in a weekend. I could spend multiple weekends on one track.... Look after the engineer/producer they can make the session successful or a ball ache. Have fun! [/quote] This. All of it.

Occasionally throw in an F# (which would mean a G harmonic minor) to imply that the key is G minor and that the Dmin is chord 5 (admittedly D7) - it can help to solidify the harmonic framework if the ear is given a leading note to the tonic. Also, Harmonic Minor scales have a unique flavour to them, so it can help to give a springboard for fresh ideas.

Hartke bass attack - there's one on here for sale on here too... http://basschat.co.uk/topic/257181-various-effects-for-sale/