gilmour

i have 6 - and thats 4 to many you need 2 - one to play, and one for backup

[quote name='Crazykiwi' post='62632' date='Sep 19 2007, 12:51 PM']noones posted a wishbass yet [/quote] I might be wrong - but isn't there a fundamental problem with Wishbass as they are built without a Truss Rod? If memory serves me right this is one of the main reasons that they are able to keep the costs so low for a 'Boutique' bass. I might be wrong, theres a review of one in an olg Mag I've got somewhere, I'll see if I can dig it out.

I was just reading through another Topic about the Pros and Cons of pracising with Headphones and someone mentioned using in ear monitoring on stage (Ped I think?) I'm really keen to know if anyone has experience of this and how this works for you, how you might go about setting this up etc. I dep. in a Bhangra band and the Dhol drummers are so so loud that even through one of those Ampeg Beasts (not a fan of Ampeg so I couldn't tell you the make or model) I have difficulty hearing myself on stage. As a Dep. I have to play through the other bassists spec'd backline so have no option to change it. However I know that front of house the soud engineer will be able to bring my level right up. Any experiences or hints about how to use and set up in ear monitoring greatley recieved. Thanks R

Hey thanks all. I've been tempted to go for a MM for years now, I was kind of hoping that the OLP would be a cheap alernative but it doesn;t sound like t would be value for money. THere was a really nice retor looking SUB 5 on here a few weeks back, but I think it;s gone now. If anyone sees any nice MM 5 Strings give me a shout. Thanks PS it think I have GAS (now that I know what it is lol)

Thanks BigRed I love this thread. My Fave so far is the Bas Extravaganza Parelmoer (Mother Of Pearl). I looked at the website - that guys got some amazing designs - I fell in love with his Lightwave Jazz, a Jazz Copy with Lightwave Optical Pickup and € 1.200,00 doesn't seem so steep for such an innovative instrument. I'd be really interested to know if anyone has played any of his stuff, or if there is any way in the UK that you can try it out?

+1 on the action - really low, really flat neck works best for me. I find for tapping you want to use really light guage strings. They're much easier to play, in general i prefer heavier guage strings for tone, however when you are tapping you don't want to many bass and low mid frequencies as you are playing many notes at once and this will muddy the sound up, so a lighter guage will eliviate this problem and give you a much clearer tone.

Sorry I have a reall Nooby question - What does GAS stand for? I see it all the time here, I think it's something to do with wanting to buy new kit? Also slightly less nooby. What sort of quality is the OLP kit, I've seen some fiarly decent looking OLP stingray 5's. DO they even begin to compare to the real MM?

It's a shame but that's the role of the bass and everyone above is right when they say that the minute the bass isn't there you notice. I think the problem you describe is wider, and about the publics misconnceptions and lack of understanding about lice music. An example of this is when I tell people i'm in a band and the conversation goes like this: ME "Oh, I play in a band" THEM "Really what kind?" ME "We do funk, soul and a bit of hip hop, breakbeats that sort of thing really" What happens next is that I persuade them to come and see us and after the show there will be a convesation ... THEM "That was really good I enjoyed it" ME "Why did you expect us to be sh*t?" THEM "No but, well, hmmm, I thought you'd be a bit more rock you know" ME "I did tell you we were a funk/soul band" THEM "Yeah well, I just expected ... something else" I don't know what it is in this country (the UK) but people associate live music in this country with Garage Rock bands? I wonder why? No that there's anyhting wrong with Rock, but there's a whole world of music out there, all those funk tracks and break beats were played live at some point, but people associate them with DJs? Sorry for the off topic rant.

If you are looking for somewhere near Oxford ther is Plug'nPlay studios in Reading (about 30 mins from Oxford) I really like it there 3 sound proofed rooms, but one is a main perfomrance room with a stage and Bar that they use for gigs in the evenings. www.plugnplay.tv

5 five, what do I need with 5 basses, that's 4 more than i need. I was shocked when I realised. But that includes one that's been on long term 'lone' to a friend (Fenix mini bass - same scale length as a Strt guitar), and the one that I stopped using 10 years ago and is in the attic (stingray copy can;t even remember who made it) Of the other 3 I only really gig one of them (the Yamaha TRB), one lies around the house for noodling on (Spector), and the Warwick, well i looks pretty doesn't it! Ooooh and I have a double too, but that's different isn't it? Please don't tell me it's 6.

£325 seems trouble with Yamaha is they suffer from Bass snobbery and don't hold their value. THis 5's for sale with flight case for only £300! [url="http://reading.gumtree.com/reading/44/11818944.html"]http://reading.gumtree.com/reading/44/11818944.html[/url] (horrible colour though) That said I love my TRB, and have tried many more expensive basses and always go back to it : )

Yeah, I think that Aussiephoenix is right about the spacing. Interestingly I'd been playing 4 for about 8 years before switching to a 5 - I play a TRB 5 at first the switch was tricky but quite quickly you get used to it. In terms of string spacing I'm surprised to have seen stingray 5 suggested as the ones I've played feel very similar (in terms of string spacing) to the TRB Warwicks have quite close string spacing (except for the wide neck ones obviously) also Ibanez Soundgear. EDIT: THinking about it, it may well have as much to do with the profile of the neck as much as the Sting Spacing If I were you I'd look for something very different from your current 4 - I used to play a Spector 4 and switched to the 5 string version (same model etc) and it was just to similar, couldn't get on with it, so then I made the switch to the TRB which feels completeley different, and I think that because I was so conscious of the difference I found the switch easier.

Definatley go for a 5 - more low notes - that's what the bass is all about. In an odd way the 5 might make the transition easier as it will be so much more different from a guitar, which will stop you falling into old guitar habits. Maybe?

On the Galaxy and stealth Bass pics above they both have angled pickups, rather than at a 90 degree angle to the strings as normal. Does this significantly affect the sound, or is it just a cosmetic thing? I'd have thought that it would make the low strings bassier, and the top strings punchier and more trebly. And if that's the case why don't more manufacturers do it? Any way just interested to know if this does affect the sound really.

Definatley worth joining the MU if you are gigging regularly. The insurance is a great benefit, but there are others. They are after all our Union and can act as a mouth piece for all musicians needs. If you're doing many semi-pro gigs It's also worth getting your kit PAT tested, I know it's a worry that it might get damaged, but I'd rather mine got damaged during testing than whilst I used it. PAT testing is relativley inexpensive, I think we paid someone £10 then 50p per additional item, he came out in a little van and we got everyone we knew to bring their equipment over. Remember that you need to get all electrical equipment over 1 year old to be tested (this includes extension leads and all those little bits, not just your amp). Any work that I have done for local councils, schools etc always insist on PAT certificates, if they are running a big event they may even offer to do it for you. [quote name='silverfoxnik' post='53697' date='Sep 1 2007, 03:10 AM']What P***** me off most though is the fact that musicians are always being treated like brainless, second-class citizens... You only have to analyse the pathetic reasons why most insurance companies refuse musicans car insurance, to find absolute proof of that blatant discrimination![/quote] I know these things are a pain in the arse. Perhaps the way to be taken more seriously is to take orurselves more seriously and do things properley, rather than messing around with forged dates and fake PAT stickers? (these will likely invalidate any insurance claim and might explain why insurance rates go up or get refused?). That's my sentiment any way.

I thought Flea use an Envelope filter or an auto Wah? Have you considered using one of them, if that's who's sound you are trying to emulate?

To use a click track live, have it only going to the drummer and then play off of him. As with Subaudios response (above) I'd have a drum machine set up with a pre-programmed "set" to reduce time in between tracks. I've played with drummers who have clicks live, it does keep you tighter, but it's important to remember that Tempo just like Volume and Pitch can be used as a musical expression, if you change speed it isn't always a bad thing. I try to only spend 50% of my practice time with a click.

Ditch the Pick and go back to fingers. It sounds better anyway

Saw the Beastie Boys in Ireland on Satuday They had that Rig, with a 2 x 10 on top (also perspex) They owned

lol - thought I had a new thread : ( what about: David Garibaldi & Rocco Prestia

wow, so many quick responses. This is a real nooby question but I've not heard of Paul Jackson and Mike Clark can anyone enlighten me?

[quote name='Mikey D' post='55952' date='Sep 5 2007, 02:13 PM']Acutally to be honest, if they were playing the early stuff, that would be a dream gig, when I was starting to learn I learnt every single song of the first two albums, Stuart plays some of my favourite lines ever. I'm never sure whether it was him (as I heard jk sang a lot of lines to him) or just the fact that they have changed their direction so much, but to me, the first two albums are the ones, the third I can live with the rest....not bothered at all. I'd only accept the Herbie gig if he played vocoder the whole set.[/quote] Have to agree whole heartedley. 1st and the 3rd albums for me, alhtough there are some nice parts on 2nd. My understanding is that JK would turn up and sing the melody, and the band would improvise around him, hence why Stu Zender left (couldn't agree who wrote the songs). The fourth Album is mostly keyboard and Synth bass, a lot of the parts were written and recorded before Nick Fyffe even joined the band. This is really geeky of me but I only know it because I was flicking through some old Bass Player magazines last week and read an interview with Nick Fyffe.