bassist_lewis

[quote name='eude' timestamp='1381310952' post='2237229'] I spoke to a guy at length who has a Nordstrand 6 string 30" Bass with a low B, a one off. He said that the break angle at the nut was the most important thing, so the headstock angle on his bass was steeper than normal, the construction was also through neck with a lot of Ebony in the neck to keep the wood under the "speaking length" of the string as stuff as possible. [/quote] I've seen the MPBs, very interesting. How steep is the headstock angle on an ACG ?

http://www.callowhillbass.com Short scale 5 string bass with a low B. The builder (Tim Cloonan) claims that the B string is excellent (slight bias) as does its co-designer, ex-Roots bassist, Owen Biddle. Somewhere on FB Tim Cloonan puts it down to the break angles at the nut and bridge. Kind of related is the subject of Inharmonicity, which is where the harmonics of a note are not an exact integer of the fundamental (eg non-tuned percussion is made of a lot of inharmonicity). Inharmonicity increases proportionally to string diameter (not quite as simple as that but as much as I understood) and is inversely proportional to string length. So getting a heavier gauge B string to compensate for a shorter scale will actually increase inharmonicity :0 in moderation it adds warmth to a sound... but I haven't a clue how much is too much :S Still, someone believes it can be done

The angle isn't drastic, Lakland's have a small metal bar just behind the nut that the strings go under before reaching the pegs. Interestingly, Tim Cloonan who builds CallowHill basses purposefully makes a sharp angle at the nut and bridge of the OBS series (30" scale 5s and 6s). He claims it improves the B string significantly.

It was the first thing I tweaked. I got it to the point just before the magnets start causing that ring modulation sound. The other 4 strings sound fine. Could it be the pick-ups? I think they're stock lakland ones

The Letts has a 34" scale so that's not it (kind if confirmed what believed before that scale length is only one of many factors) When I've used tapercores before I've hated the weird upper overtone stuff that happens. I've tweaked the set-up quite a bit (apart from the truss rod) particularly the B string bridge saddle. I'll probably end up throwing rounds on it and seeng if that brings the B back

So I have 2 basses with B string: a Letts fretless 6 and a Lakland Darryl Jones, both currently strung with LaBella flats. Having gigged both through the same rig (though only once in the same venue) and consistently the Lakland's B string is weak sounding - it's muffled and, if plucked once, it quickly drops in volume - while the Letts' B is clear, audible, and with good sustain. Even more annoyingly, Lakland's B makes the amp clip, something the Letts does not do. I'm playing GB Streamliner into a BF midget and hassled Alex about it, he explained it can just be the nature of low Bs and can be helped by plucking differently, using back PU. But the Letts is fine! What the hell is going on?!

Wedding in Glasgow last night, had a proper stage which was nice - had a hollow wooden one a few weeks back which destroyed my bass sound. What was nicer was having the proper line-up all present, for the last few gigs we've had stand in drummers and I was away last weekend so it was nice having everyone n the same page knowing all the songs. Also, I swore that the guy who joined the bride for the first dance was not the guy in the middle of the circle during Loch Lomond at the end of the night - both positions normally taken by the groom. What did I miss?! And another with massive dreads nearly set himself on fire from the candles onstage

Callowhill OBS Another Barefaced Midget The latter is probably more likely...

[quote name='BigRedX' timestamp='1377959532' post='2194111'] Every time I've played in a band with more than one guitarist, they have been excellent at arranging the guitars so that they complimented each other in both note choices and sounds. Those are the sorts of musicians that you want. [/quote] This all the way, if you have 2 guitarists they have to be exceptionally good musicians and good at communicating with each other, otherwise you end with a crunchy mess. Or at least one of them does so they can work around the other one (though in that situation you'd be as well ditching the ignorant one!) IME only rock/metal bands want 2 guitars (I purposely didn't write 'need' coz loads of rock/metal bands only have 1) for the extra noise while every other genre is happy with 1 (though Lettuce have 2 but they run rings around a lot of musicians).

[quote name='Raymondo' timestamp='1377896071' post='2193465'] +1 from me! The guy that plays for Bedford Falls at the Barony inn (and most other bands that play there it seems!) is awesome. I was told he played with the proclaimers in the early days? can't remember his name unfortunately ....probably because I have usually had one or two beers when i go there ;-) but he sure does take some beating. [/quote] I've never been there but I was thinking of Dougie Coulter (bass guitar) who plays for the Mike Kearney Ka-Tet at Jazzbar on Wednesdays (think he does a few other nights too) and Ed Kelly (double bass) who does various trios and quartets. Both excellent and therefore inspirational players. There's also Aki, he normally plays guitar but he's a hell of a bass player too!

Does it have to guys in famous bands? There's a couple of local guys in Edinburgh that are incredible players, easily up there with the big names.

... you may

Just came across this article on notreble.com and thought I'd share it, very interesting to hear how it really works. http://www.notreble.com/buzz/2013/08/28/life-as-a-working-bassist-where-does-the-money-come-from/

[quote name='TimR' timestamp='1376431818' post='2174034'] What is the purpose of the recording? If it's to lay down a demo for gigs then that seems a good idea. Two months, twice a week to get up to speed, record demo, reign back rehearsals and get gigs. It's only ambitious if the rest of the band aren't willing to put the work in. How's the guy with no transport (Let me guess, drummer?) going to get to gigs? That would be more of a concern to me. [/quote] It's the sax player who lives far away. I'm all for recording a demo but the singer is doing a fringe show so can't rehearse til September, so only 1 month. I can't do 2 rehearsals, I have 3 other bands, gigs, a full time job plus a life. Parts are written but flexible. The singer hasn't written everything yet so structures are still to be finished, as are brass parts.

Evening fellows, I haven't posted here in a while but need some opinions to check I'm not being a d**k. So, a friend of mine started a funk band and asked me to join, we've had 2 rehearsals (and a third I couldn't make) and the music is good, as are the players. However, one of the guys lives about 2 hours away and the band leader insists we go rehearse with him sometimes because he has no transport. Also, the band leader wants to record in October but the singer can't make rehearsal til September so songs won't start getting written until then. I've told him that that isn't enough time as the songs aren't finished but he's now talking about people needing to commit and doing 2 rehearsals a week. I think he's over-ambitious and unrealistic but am I being a stick in the mud?

it could, but then it depends who's playing it... and what sort of egg you're intending to boil... kind of depends...

I should have known better than to ask! [quote name='discreet' timestamp='1367151688' post='2061729'] I'd say 'Yes', but I [i]am [/i]biased. I expect you'll get a variety of responses! [/quote]! While I'm here, what do people think about 5 and 6 string basses

I've heard it said many times, on here, in video reviews and by people I know, but can a one pick-up passive bass carry off any musical style? Opinions wanted for a quiet Sunday!

hello BC I've just got involved in a production of Whistle Down the Wind! I've been playing through the score most of today and will be doing so again tomorrow and have been listening to the cast recording (though it doesn't seem to be exactly the same as my score). What I'm asking for is any advice on playing in a musical. I'd like to make a good impression so that I might get work in the future. thanks

the Sadowsky: they sound really good, 2 pick ups for a bit of tonal versatility (your keyboard player is WRONG ) and its a 5 string which takes care of flat keys and low voiced singers

Its a job which is related to my intended career, much like someone who wants to be a chef starting as a kitchen porter. Its also pretty good money, you get to meet lots of other musicians and quite frankly I've had far more great gigs playing covers than playing originals (I've had a few stinkers but hazard of the trade). I'm not anti original music but I feel that both have their place: playing regularly in a covers band is great for your musicianship (hearing through chords, interacting with other players, appropriate note choice, transcribing, professional conduct etc) but after a while a lot of it becomes second nature which is where the original music comes in: to stretch me musically!

Saturday booked!