paul_5

Last night I ran my SWR head through a Barefaced cab, instead of my usual Hartke Hydrice 410. I suspect I [i]may[/i] just have developed a tiny amount of GAS... :-S

The 'parent' key is E Major, but it's starting on the 4th note of that key, which makes it a modal tune. The 4th mode of a parent scale (starting the Major scale on the 4th note) is a Lydian mode, so this is an A Lydian. You've playing an E major scale, but going from A to A (A, B, C#, D#, E F#, G#, A) instead of going E to E (E, F#, G#, A, B, C#, D#, E) - same notes, different start and end points.

Oooooohhhhh Nice!

[quote name='hiram.k.hackenbacker' timestamp='1430382610' post='2760768'] If he's that worried about you dropping one note, he could probably do with listening back to his own vocal performance :-) [/quote] I'll be honest with you, that was the first thing that crossed my mind too.

[quote name='spectoremg' timestamp='1430378019' post='2760712'] Used to regularly flick the hipshot down for Summer of '69 and forget to put it back for the next song. [/quote] Ditto. Different song, but same faux-pas…

I sold a Hohner fretless Jazz in about 2008 through HW Audio in Bolton, Greater Manchester. I don't suppose anybody knows where it went, do they? White with a tort scratchplate. I think it was an ebanol fingerboard too.

Not any more. I went up and down the country in a Queen tribute act (about 20 years ago). Not a day goes by that I miss it.

This.

I'll tell you how they can do it for £100 - "B[font="arial, helvetica, sans-serif"]y exploiting the workers. [/font][color=#000000][font=arial, helvetica, sans-serif]By hanging on to outdat[size=3]ed imperialist [/size][/font][/color][color=#000000][font=arial, helvetica, sans-serif][size=3]dogma[/size] [size=2]which perpetuates the socia[/size]l[size=1] and economic differences in our [/size][/font][/color][font="arial, helvetica, sans-serif"][color="#000000"][size=1]society…"[/size][/color][/font] [size=4][font=arial,helvetica,sans-serif][color=#000000]I'll get my Doublet.[/color][/font][/size]

Y'know Les Paul is responsible for more than a couple of ground-breaking ideas - there's the guitars, the playing, multi-track recording etc...

Jack also played on 'Apostrophe' by Frank Zappa. Much as I love Jaco's playing I'd say go for Jack Bruce. I doubt that there's anything about Jaco that hasn't alrady been written.

We've got a do on on Friday (1st May) with 4 bands on the bill. We're sharing cabs (heard this from the organiser, not the headliners though, who actually *own* the kit). I always try to make contact with the other band's bass player (often through Facebook) to check specs and connections etc… Seems like the best way to do it for me. Obviously I'd prefer to use my cab, but with so many changeovers it's just not practical.

[quote name='Cameronj279' timestamp='1430206901' post='2758820'] I'd recommend looking into the John East J-retro. If it's anything like the U-retro it's a fantastic bit of kit. There's quite a few videos on YouTube about it if I recall correctly. Would like them here but on my phone at the mo. [/quote] This. The J Retro drops straight in - no soldering needed, the the pickup wires simply screw into the terminals on the board. No routing or power tools needed. http://www.east-uk.com/index.php/all-products/j-retro-01-deluxe.html

Sounds like you might want to try a P bass with a Jazz neck - that'll give you the best of both worlds; punchy, mid-range punchiness that punches through anything, punchily, and a slim, playable neck.

Personally, I like the space that happens when the guitarist goes up the dusty end for a solo. To make things interesting you can invert the chord (play the 3rd or 5th instead of just the root), or stick passing notes or accidentals in... E.G. Chord progression of C, Am, F, G - instead of just playing quavers (8th notes) for each bar of C, A, F, G I'd look at adding a bit more interest and turning the line into a bit more of a feature - rhythmic devices (like the last bar of this example) can also help to make more of a feature of the baseline whilst still underpinning the guitar solo and providing a sense of rhythm too. [attachment=190298:Screen Shot 2015-04-23 at 10.02.05.png]

Slowly, and a couple of bars at a time. Groove is most definitely king of that tune!

It seems that Viz (the magazine that's "better than nothing") are keen to get in on the act too. [attachment=190232:Screen-Shot-2015-04-13-at-10.01.38.png]

Hmmm, depth control you say…….

The Muff project progresses: Tamed the extreme low end, so it's a whole lot more controlled and focussed down there, and a couple of minor tweaks in the tone shaping mean that I'll get it boxed up and see how it fares at rehearsal this week. Fuzz on!

an 18", a 12" and a selectable HF horn in the same cab. I reckon that's the panacea speaker - covers everyone's frequency response needs (it'll handle dub thumps up to blistering high end slapping) Also (whilst we're being stupid) a teasmaid round the back, obviously out of the way of the wiring, let's not get too silly. Well, you [i]did[/i] say stupid…

OK, so my first 'modded' Big Muff board is done - I overcooked the gain stages initially by only using a 100Ω resistor between the Emitter and ground of the first 3 tranny stages, then came down gradually to 390Ω, and increased the coupling caps from 100nf to 1µf, but I might try dropping them to 470nf as the bottom end is MAHOOSIVE!!! Big, fat, dirty muff. What's not to like?

I'd interpret that as the F# accidental carrying over the bar line (as it's tied) throughout bar 10, then it get cancelled out by the accidental in bar 11. A second 'courtesy accidental' for the F on beat 2 of bar 11 would be nice though.

For what it's worth, I prefer maple boards to rosewood simply because they take less maintenance. Actually, they take *no* maintenance, as opposed to oiling the rosewood every couple of years - how lazy does that make me look?

[quote name='Happy Jack' timestamp='1429258768' post='2749673'] If you want maple to sound less bright, fit flats ... [/quote] Nailed it again Jack, good work sir.