paul_5

I had the same problem when I bought my rig, couldn't find anyone to sell me a Kilo, so got the LH1000 instead. Lovely amp with tone of power.

[quote name='LawrenceH' post='1161999' date='Mar 14 2011, 04:49 PM'] [/quote] That sir, is the balls. Thanks for posting it.

It means 'a whale's vagina'.

from my experience that doesn't look much like knurling. To me they look more ....(ahem) ribbed... that is all.

[quote name='thisnameistaken' post='1161066' date='Mar 13 2011, 09:24 PM']It doesn't really matter what bass you use.[/quote] Ah well, that takes care of 50% of the topics on BC. The rest being roughly 10% - Chris Wolstenhome's effects setup, 20% bass porn and related GAS, 10% 'Drummer at the wrong gig' posts and 10% knob gags. Think that's everything covered

welcome on board.

Well done to you sir. If I may be allowed to whet your appetite even more; the Hohner pro. fretless is (certainly for that paltry sum) a great bass, as I used to have one. Mwah.

The Hartke Hydrive 410 is great for both slap and metal, as they're REALLY punchy, a little bit warmer / bottomy than the all aluminium drivers. I run mine with a LH1000, and have always got the tone I need to hand, not the most versatile of heads though.

Find out which band/song helped her to decide to pick it up, then teach her those lines (you'll probably have to simplify some stuff if she's into Primus though ), younger players (in my experience) really benefit from 'instant' results. Cheers, Paul.

TBH the 'slap bass' approach is identical to most other bass playing. Keep that ONE!! The rest is just frippery.

[quote name='WalMan' post='1159990' date='Mar 12 2011, 11:03 PM']...and as ever I should add, with the potential for a nasty hit if it is picked up and confiscated. Could also give a problem if there is damage and the insurance will not pay out.[/quote] Absolutely, when he told me the tale I couldn't believe it at first. Nice guitar, too many strings though.

My brother fell foul of this a couple of years ago when importing a vintage delay pedal; customs and excise people don't open every package, just a sample. SOmetimes you get the bear, sometimes the bear gets you. You should be prepared for the extra charges though. I also know of someone who imported a Gretch White Falcon from the USA and didn't pay ant import duty on it as he'd got the seller to ship it as a gift, and declare the value of the item as significantly less than its actual worth (roughly £2,500). Not completely honest though...

Agreed, there IS a time and a place for 'slap bass' - 2pm, Saturday afternoon, any music shop you'd care to mention. Don't get me wrong, I can slap, and enjoy doing it, but it's a guilty secret, and never makes it to rehearsals or gigs (unless the song ABSOLUTELY requires it), I've even played 'Carwash' fingerstyle before now.

Bought two bass books from Mat this week, really prompt transaction, better than advertised (advertised as two books and one CD, he subsequently found the 2nd CD and sent it out at no extra cost) . Nice guy to deal with too. Stay classy, Paul

[quote name='munkonthehill' post='1158891' date='Mar 12 2011, 02:34 AM']the guitarist is turning himself down...[/quote] Wow, even though he's not pulling his weight, it's worth keeping him just for the novelty value. Seriously though, sorry to hear that you've been having a rough ride. I think (from the sounds of it) you've already made your mind up. It's always crappy when a band splits up, but it sounds like you all want different things - some people want to gig and do it properly, others want a hobby to tinker with. Fortunately, good bass players with commitment, transport and their own gear are never without a band for long... Good luck with the next project. Cheers, Paul

[quote name='chrismuzz' post='1158626' date='Mar 11 2011, 08:42 PM']This is exactly the kind of thing that brought me here! [/quote] Ditto. Just cleared out my '7.07MB' of photos, hope this helps...

[quote name='jonthebass' post='1157597' date='Mar 11 2011, 07:39 AM']I thought to do this properly you need one of these? - [url="http://www.radialeng.com/re-prormp.htm"]http://www.radialeng.com/re-prormp.htm[/url][/quote] Or a cheap as chips passive DI box run backwards (XLR in, 1/4" out) will work at a pinch if you're going into a 'real' amp. Not ideal, but I've used this method on occasion and not killed anyone. Yet.

record the guitar through a DI box, it'll sound rubbish, but that won't matter. when you come to focus on the guitar then send the recorded, unprocessed signal out through its own channel to the box of your choice (amp / simulator) and tweek to taste. *You may have to create a mono output for this in Cubase* Record what's coming out of this box back into your sequencer, in Cubase don't record this with the 'little yellow speaker' monitor button activated- you'll get some horrible noises... Hope this helps. Paul

+1 for the Hejira album - some lovely playing. Then again, I'm a fan of the 'jazz steel pan and Toots Thieleman' stuff too.

Definately keep your pants on.

I used 'plastic wood' to do mine. Then loads of varnish and really fine sand paper. Not only do I have a 'smooth as glass' fingerboard, but I also ended up with disproportionately enlarged triceps

I liked it, more power to your elbow mate. +1 about the dead strings though. [GREAT BIG THUMB emoticon]

Absolutely go for it. Fretless is a beautiful sound, and (personally) more rewarding. My first fretless was a cheap (£70) 4 string that I defretted and then filled in the gaps. I've never looked back. Top tip for starting off is to play songs which occasionally feature open strings - that way you've got a reference pitch to check the relative pitch of your fingered notes.

[quote name='daz' post='1153899' date='Mar 8 2011, 02:55 PM']is there some sort of chart or some way of finding out what the note is that comes from fretting any two adjacent strings? I tried looking at it via my tuner but it didn't seem to like it.[/quote] This is because you're playing two notes together, and most tuners only like to deal with one note at once. If you're barring the thinnest strings together, then you've got an inversion of an implied chord - bear with me - The 'root note' of the chord you're implying is the note on the G string. Confused? here are some examples: hold down the D and G strings at the 9th fret, now play the open E string. See? it's most of an 'E chord', but without an 'E' at the bottom (you've inverted the chord) similarly barre the same strings at the 2nd (or 14th fret) and play the open A string - sounds like an A chord, right? the reason for that is that you've got two notes from the A chord (E and A), but the lowest note isn't an A (which is the usual thing to do on a bass). It's a really useful method of filling up space in a mix. Long story short: whatever note you've got on the G string is the root note (letter name) of the chord you've implying. Hope this helps Cool, now I'm off to play 'Jon the fisherman' and 'here come the bastards'...