fretmeister

[quote name='JamesBass' timestamp='1430834208' post='2765006'] Hey man, wasn't me I'm afraid! However I have some new videos about to go live within the next month or so, I took my old account down for a thorough re-branding! But I haven't asked any permissions yet. I use my recordings and covers as a self-promotional tool, advertising myself as a player, and as a teacher. Though I've learnt the basics of copyright law, I'm no expert. In fact, when I contacted PRS, MCPS, PPL, and the MU all told me different things. One said I needed a license, the other said not us, another told me that so long as no monetary gain in my favour, or dramatic loss of business in the holder/publisher etc. I'd be ok, and then another told me that I'd be covered under YouTubes license. As for your friends cover, I don't see why there would be any issue. He's not claimed ownership, he's not tried to gain from it. He could always state it was for academic purposes? [u][i][b]I know that 99% of the time excludes you from copyright infringement(Sic)[/b][/i][/u] [/quote] Not if you publish it on the web!! As a recent example I remember when Stuart Clayton did Metallica's "Nothing Else Matters" - it couldn't go in the book because the permissions hadn't come through in time for the publication deadline. A book teaching people to play a piece is clearly for academic use - and yet the permission of the copyright holder was needed. Claiming that something was for academic purposes when that isn't true would be a lie - your mate better have at least 1 student!

[quote name='TimR' timestamp='1430846314' post='2765167'] I think most of the problem is that in most bands you get a rock drummer who just bangs out a basic 'four to the floor' rhythm and expects everyone to be in time with him. Anyone not in time is 'wrong'. I've played with drummers like that. It's ok for out and out rock or marching bands. But it's no good if you want to dance to the music. It's a revolution when you play with a drummer who has great feel and once you've been spoiled you become very particular with which drummers you play with. [/quote] That's a good point. In my youth I played with drummers that could play Lombardo / Lang / Mangini stuff like they were robots. It was the robot element that was the problem. It was only later when I played with a drummer who insisted that any more than a 4 piece drum kit was "showy billy bollocks" that I realised what a great groove was. He's hung up his sticks now and I'm gutted! EDIT - and now (for he last 3 years or so) I play in orchestral situations, often without a drummer. So that means the pulse is me or the conductor. That's a real eye-opener too

I think the main two problems here are: 1) Ubit thinks being ahead or behind the beat means playing out of time, when it doesn't 2) None of us are doing a great job explaining why! None of it is "emperors new clothes" or "pretentious" it is just a fact of music and has been for hundreds of years. I wonder if the problem is that in rock / pop etc the Mood of the music is dumbed down to Ahead Of the Beat / on The Beat / Behind The Beat rather than the huge amount of terms used to describe the mood that appear in classical music. [b] Moods[font=sans-serif][size=1][color=#555555][[/color][url="http://en.wikipedia.org/w/index.php?title=List_of_Italian_musical_terms_used_in_English&action=edit&section=6"]edit[/url][color=#555555]][/color][/size][/font][/b] [b][url="http://en.wikipedia.org/wiki/Affettuoso"]Affettuoso[/url][/b] [i]with feeling[/i] Tenderly [b][url="http://en.wikipedia.org/wiki/Agitato"]Agitato[/url][/b] [i]agitated[/i] Excited and fast [b][url="http://en.wikipedia.org/wiki/List_of_musical_terminology"]Animato[/url][/b] [i]animated[/i] Animated [b][url="http://en.wikipedia.org/wiki/Brillante"]Brillante[/url][/b] [i]brilliant[/i] Brilliant, bright [b][url="http://en.wikipedia.org/wiki/Bruscamente"]Bruscamente[/url][/b] [i]brusquely[/i] Brusquely – abruptly [b][url="http://en.wiktionary.org/wiki/cantabile"]Cantabile[/url][/b] [i]singable[/i] In a singing style [b][url="http://en.wikipedia.org/wiki/Colossale"]Colossale[/url][/b] [i]colossal[/i] in a fashion which suggests immensity [b][url="http://en.wikipedia.org/wiki/Comodo_(music)"]Comodo[/url][/b] [i]convenient[/i] Comfortably, moderately [b][url="http://en.wikipedia.org/w/index.php?title=Con_amore&action=edit&redlink=1"]Con amore[/url][/b] [i]with love[/i] with love [b][url="http://en.wikipedia.org/w/index.php?title=Con_fuoco&action=edit&redlink=1"]Con fuoco[/url][/b] [i]with fire[/i] with fiery manner [b][url="http://en.wikipedia.org/wiki/Glossary_of_musical_terminology"]Con brio[/url][/b] [i]with bright[/i] brightly [b][url="http://en.wikipedia.org/wiki/Con_moto"]Con moto[/url][/b] [i]with movement[/i] with (audible) movement [b][url="http://en.wikipedia.org/w/index.php?title=Con_spirito&action=edit&redlink=1"]Con spirito[/url][/b] [i]with spirit[/i] with spirit [b][url="http://en.wiktionary.org/wiki/dolce"]Dolce[/url][/b] [i]sweetly[/i] Sweet [b]Espressivo[/b] [i]expressive[/i] Expressively [b][url="http://en.wikipedia.org/wiki/Furioso"]Furioso[/url][/b] [i]furious[/i] with passion [b][url="http://en.wikipedia.org/wiki/Grazioso"]Grazioso[/url][/b] [i]graciously or gracefully[/i] with charm [b]Lacrimoso[/b] [i]teary[/i] Tearfully, sadly [b][url="http://en.wikipedia.org/wiki/Maestoso"]Maestoso[/url][/b] [i]majestic[/i] Stately [b]Misterioso[/b] [i]mysterious[/i] Mysteriously, secretively, enigmatic [b][url="http://en.wikipedia.org/wiki/Pesante"]Pesante[/url][/b] [i]heavy[/i] Heavy, slowly, sadly [b]Risoluto[/b] [i]resolved[/i] Resolved, decisive [b][url="http://en.wikipedia.org/wiki/Scherzando"]Scherzando[/url][/b] [i]playfully[/i] Playfully [b][url="http://en.wikipedia.org/w/index.php?title=Sotto&action=edit&redlink=1"]Sotto[/url][/b] [i]subdued[/i] Subdued [b][url="http://en.wikipedia.org/wiki/Semplicemente"]Semplicemente[/url][/b] [i]simply[/i] Simply [b][url="http://en.wikipedia.org/w/index.php?title=Slancio&action=edit&redlink=1"]slancio[/url][/b] [i]passion[/i] enthusiasm [b][url="http://en.wikipedia.org/wiki/Vivace"]Vivace[/url][/b] [i]vivacious[/i] up-tempo The feel is really the mood of the music, whether that is slow and relaxed or aggressive and bold. My own view is that "behind the beat" is to have an overly relaxed almost lazy approach, and "ahead" is an attempt to drag everyone along with me, kicking and screaming if necessary. That's probably as terrible an explanation as the rest!

The other 2 screws are in the pickup cavity. And then there is the Mark 3 version

[quote name='Delberthot' timestamp='1430837520' post='2765041'] That's attached to the body with only 2 screws [/quote] Just like a real Mark 2

[quote name='redstriper' timestamp='1430831579' post='2764966'] Can anyone answer my OP? Do you have to ask permission from the [color=#282828][font=helvetica, arial, sans-serif]copyright holder before performing or recording a cover version?[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Is it a legal requirement?[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]There are a lot of videos of covers on youtube - have they all been cleared by the writers? [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]The reason I ask is because a friend recorded a cover version and posted it on youtube[/font][/color], without getting any permission from the copyright holder. The original composer has gone mad and demanded it be removed, which it has - but they are still very angry. [/quote] You don't need a bunch of forumites. You need a proper Entertainment lawyer! And as stated above - banging out a cover tune in a pub is a different kettle of whelks to actually recording a version and effectively releasing it on youtube! If your mate was just recording it for fun to show that he could do it, then he's really got nothing to worry about. But if he tried to make any money from it, or that his version reduced the sales of the real one - then he has caused damage to the copyright holder. Whether the copyright holder can be arsed to go after him in court will depend on the amount of damage the copyright holder can prove.

Anyone in the market for a real one would see right through this - surely????

Thank you. And cor blimey that's a lot to read! I could drive to Finland and get one and be back before I read all those pages!

My problem is that I love split signal path systems. If I really bought another one, then I'd end up buying another 2 Bergs and running the whole lot at once. When I'm playing with a woodwind group.

I think I'll order one and compare them together.

I have one of these wonderful things too. It really lets the individual sound of a bass come through. Despite my increasing amp collection the Demeter is my main amp. It's light, very punchy and sounds great. The only negative I have (and it's not really a negative at all) is that I would have liked the Treble Control to cut more, even in Dark mode - but that's only really because I have a habit of taking a Stingray5 (with rounds) to Jazz / Classical gigs when really a passive bass with flats and a neck pickup would be a far better choice! So really the negative is of my own making, rather than anything to do with the amp! Funnily enough the 'problem' disappears when I use my TM5 or my Marleaux. Maybe I should get another Ray5, a set of nice vintage pickups and buy a router!!! This is one of those rare amps where I keep thinking about selling off some of my others so I can get a spare Demeter. If anyone is keeping score on the variety of cabs being used - I'm using it with a pair of Bergantino CN112 cabs, with the Tweeter OFF.

http://www.brightonion.co.uk/products/AB-Switch.html You can use it as 2 into 1, or the other way round.

Anyone owned both? With the B7K set flat does it sound the same as the 3? Same drive levels / clank etc? Ta

Anyone got one? I'm quite tempted to get one.

Nice vid. Rush are one of those bands that do nothing for me, and yet I do like hearing Geddy play isolated, or just with the drums! Nice looking bass though!

[quote name='skankdelvar' timestamp='1430587214' post='2762923'] Good job no one here is playing in an orchestra. The conductor is - by design - usually a half-beat or a beat ahead of the orchestra, while some instruments (bowed basses) open their note even a little bit ahead of the other players to allow for their instrument's attack. In any case, playing ahead of or behind the beat is a legitimate and widely recognised musical practice. [/quote] Best me to it. Had a top orchestra rehearsal this morning when the subject came up (again) for the over enthusiastic 'bone players!

I usually get my hard to find pickups from Best Bass Gear in the USA http://www.bestbassgear.com/seymour-duncan-3band-musicman-onboard.htm Fast cheap shipping and even with VAT and import it's usually a little cheaper.

[quote name='Rumple' timestamp='1430402121' post='2761057'] Me neither, I'm after a SD Antiquity 2 pickup for my Precision and it's more than double the price of buying one from the US on Ebay, even after paying VAT and import duty it would be a darn sight cheaper from America, it doesn't make sense! [/quote] Distributor costs. Same reason why Mesa amps are mentally price over here.

It's not far off Mrs F's birthday. I'm going to get her one.

http://www.sunfrogshirts.com/Magical-BASSIST-wife-Ladies.html?9495

[quote name='throwoff' timestamp='1430258266' post='2759677'] Acoustics are a different kettle of fish completely. The instrument is designed to self amplify and as such the wood construction alters the tone. On electrics it really doesn't. I am sure somebody did your test a few years back where they stuck a Pre CBS set of Fender pups in a guitar and on a plank of wood and found no audible difference in the spectrum. [/quote] So to clarify your position - the wood makes a difference, but the pickups are not very efficient at allowing that difference through to the amp. I fully agree that a pickup change can be one of the most dramatic changes in tone. Round strings to flats is another. But that doesn't mean wood differences aren't there, it's just that the differences are of a smaller magnitude. Those differences are even less noticeable (even pickups and strings) if an amp has such a powerful overbearing voice, like an SVT at full tilt. If anything that is a failure of the pickup system - failing to fully realise the tonal quality of a particular wood choice.

I like that. How much does it weigh?

[quote name='PaulWarning' timestamp='1430228726' post='2759193'] I've got an old Wilson guitar with the 'zero fret' and I've always thought "what a good idea" no more fannying around cutting the nut to exactley the right depth, I've often wondered why it's not more widely used. [/quote] Both my Marleaux and my Sandberg have Zero frets. It's a brilliant idea. And at re-fret time it's only 1 more fret.

[quote name='throwoff' timestamp='1430230498' post='2759223'] Again, I think almost all of it is in your mind. I think pickups can vary massively in the way they are wound, as well as the wiring, pots and so on. [/quote] Be dead easy to test. Get two (or even better, 3 or 4) 99% identical instruments, say alder body and ash and then run the signal into a 'scope. Ideally with a mechanical device picking the strings for uniformity. Use the exact same set of pickups and compare the 'scope trace. Then for control do the same with a contact mic attached to the bodies - not using the pickups. Do that with plucking the strings and with an impact / tuning fork test. If there is a difference on the 'scope then there is a difference. Whether that difference is actually enough to be detected by the human ear will also be answered by the 'scope readings. While you do that I'll nip into Sheehans lovely acoustic emporium and play a Taylor made of mahogany and then one made out of spruce and be completely not surprised by the obvious tonal difference.

[quote name='alembic1989' timestamp='1430226284' post='2759160'] Hmmm an interesting point of view. Makes me wonder why we bother with high grade ( or otherwise) instruments when (according to you) all we need to do is (for example) get some Fodera pick ups and loom...stick them in a cheap plywood 70s Jap body...and hey presto we'll have the Fodera tone. Are you sure my friend :-) [/quote] +1 I've had a pair of otherwise identical instruments with some wood differences and there was a clear difference. I doubt an audience would notice, but I did