51m0n

I have a really nice Roscoe too I also have a Squire VMJ fretless, and its a blinding bass I also have a 'Japcrap' Vester, which is also a blinding bass

[quote name='Roob' post='927791' date='Aug 17 2010, 05:42 PM']Thanks for clarifying that! I had my suspicions but wasn't too sure. All makes sense now. I had this idea in my head that by shoving twice as much power into the cab it would shift more air, this is of course not the case . I should probably just take the plunge and fork out for a Hydrive 115 and be done [/quote] Dont get the 115, get another 410, if more volume of the same basic tone is what you want (you'll get just as much bass, a 15 does NOT equal more bass than a 410, total myth).

'Cutting through' depends entirely upon how resilient what you are trying to cut through is. In other words if the bass/player/strings/amp/cab/room set up is strong in a area of frequencies that the rest of the players are weak in , you will be heard clearly in those frequencies. They may or may not sound good, but thats a different issue. You will not ever win the 'sounding good band trophy' by trying to overpower everyone else in frequencies that sound good with a bass on its own, all that happens is a noise war; you must instead ask them to make some space for you there. When mixing down a recorded track the sound engineer has massive control over instruments due to the lack of spill between them (many reasons and techniques exist to ensure this) and so can literal carve holes in one instrument with eq to slot another instrument into (often with more eq). This is frequency mixing, and its a total art to do really well. In a live context you dont have the seperation to do this, so the players have to do it collectively or you will sound like a mess and volume wars will ensue. Cutting through implies upper mids and top end, and as the human ear/brain are designed to be ultra sensitive in the upper mids that is where most people notice things 'popping out'. However with judicious live sound freuency mixing you can make deeper low mid and bass sounds have enough space to be really clearly and distinctly heard. The thing is that they will never 'pop out' like an instrument dominating the upper mids will, just because that is how the ear/brain work. IMO Any bass can be made to 'cut through' if that is your intent, how hard you have to manipulate the sound depends upon the above...

[quote name='silddx' post='927272' date='Aug 17 2010, 10:13 AM']I'm going to the ZPZ gig and the audience with Scott the next day, I can't wait either! Mrs silddx is going to both too, and even wants me to play her a selection from Zappa's catalogue and wants to read the Scott Thunes interview in In Cold Sweat, in preparation for her attendance at the events. This is a rather remarkable turnaround She's always hated Zappa's music.[/quote] Saw ZPZ at the Brighton Centre with Plux, you are in for a hell of a treat mate! Best guitar sound I've ever heard live, really incredible, and a fantastic band, keep you eyes on the sax player, she's ace!

[quote name='peted' post='925248' date='Aug 14 2010, 10:50 PM']Have a look at [url="http://www.reaper.fm/"]http://www.reaper.fm/[/url][/quote] +1

[quote name='Doddy' post='923950' date='Aug 13 2010, 02:49 PM']I thought it was Warren Cuccarullo? Vinnie was mentioned after.[/quote] Yup, Vinnie wasnt nearly so kinda young kinda wow I guess

ooooohhhh the whole thing (70th birthday celebration) looks awesome! Cheers!!

Reaper here too. Its outstanding value for money, shows the big boys a thing or two about performance, is 32bit floating point internally, and has a dev lifecycle faster than anything else ot here that I know of... And it sounds killer too

[quote name='Stacker' post='917697' date='Aug 7 2010, 08:54 AM']It's not the prototype, man! How can it be?? You'er telling me a stack knob bass with a FUZZ CIRCUIT is the first ever Jazz bass?? Your lift at b from Chambers above states '..from which laters forms are copied', ergo, Hebies bass ain't a 'prototype' of any kind! Some people will believe anything![/quote] OK, what you seem to have missed is that it may be a prototype for a variation on the Jazz bass that never made it. So no, its not the prototype to the Jazz bass as you know it, but that does not make it any less of a prototype. Face it, Fender, Herbie and everyone else who has read this pretty much disagrees with you. If the Jazz bass that we know had tuned out to be a copy of Herbs you would then denounce any other variation that Fender call a prototype as not one. Clearly that is not how prototyping works!

Right back at you:- [url="http://www.chambersharrap.co.uk/chambers/features/chref/chref.py/main?query=prototype&title=21st"]prototype[/url] prototype noun 1 an original model [b]from which later forms are copied, developed or derived[/b]. 2 a first working version, eg of a vehicle or aircraft. 3 someone or something that exemplifies a type. [b]4 a primitive or ancestral form of something[/b]. prototypal adj. prototypic adj. prototypical adj. prototypically adverb. ETYMOLOGY: 17c: from Greek prototypos primitive or original. It is not absolutely necesarily the first working version that is a prototype, since later copies can be derived or developed, and further copies may be derived and developed from those, all before a manufacturer reaches a final version for production. [url="http://www.ideafinder.com/history/inventors/dyson.htm"]Just ask Mr Dyson how many prototype vacuum cleaners he went through![/url]

[quote name='The Bass Doc' post='917266' date='Aug 6 2010, 06:19 PM']Just interested to know how it's quoted as a '59 when the Jazz was apparently introduced in 1960? Maybe the next BCer to have a go could whip the neck off and look for a date? [/quote] All is explained [url="http://www.curtisnovak.com/vintage/JazzBass59/"]here[/url] EDIT to say sorry to be so much later than the previous pointer in this direction, I was at a gig.... Plux got to play it at the gig on about 5 songs too. Fantastic gig all round. 46 songs in about 3 hours, different band for every song, including string sections, wind instruments, keys, and a brilliant song about a rabbit meeting an untimely end under a bus. Fantastic evening, and made all the more amazing watching my son grooving away like mad on the bass that is on a million hits. To say Herbie is a nice bloke is an understatement of mind boggling proportions! At one point he told Plux that he didnt have to ask him to have a go on it, just pick up and use it. Wow!

COOL! Thanks a lot

Acoustic treatment != Sound proofing != Killing the 'vibe' The acoustic treatment neednt be expensive (go look on gearslutz.com for advice on home made basstraps and absorbers - you will need to do lots, buit it does not nned to be expensive). There is a real art to it, and it starts with the fabric of the construction. Things have moved on a bit ion 25 years, but you will recognise an awful lot of what is considered the right thing to do. What you dont do is kill the room dead, rather you get rid of flutter reverb, nasty dips and peaks in various frequencies (all room shape/size/construction dependant) and then diffuse and absorb the reflections to give the space a much larger feel to enable real quality recording to be done. Soundproofing is more laborious but you defintely want good seperation between the tracking space and the control room and the tracking space and the outside world. Again Gearslutz is you friend, masses of knowledge on there, read read read, ask huge amounts of questions, there are some very odd things to take into account with acoustics, it is definitely not all obvious (three layers of wall not necesarily better than two etc etc). Plasterboard and green glue are your friend here! Mics - they neednt be all expensive, [url="http://www.red5audio.com/acatalog/Drum_Kit_Mics.html"]Red5[/url] do really good exceedingly cheap drum packages to get you started, [url="http://www.heilsound.com/pro/index.php"]Heil[/url] PR68 kick mike and PR28 snare tom mics are absolutely amazing quality (WAY better than sm57 and sm58 etc), and cost peanuts, [url="http://www.cascademicrophones.com/cascade_FAT%20HEAD.html"]Cascade Fathead[/url] ribbons are lovely (get the lundahl upgrade if you can) as overheads and guitar mics, and there are rafts of decent to good large condensors out there. If you can afford it get one real industry standard large diaphragm condensor for vocals. Again with the GearSlutz and AVForums! GS has lots of dedicated threads on cheap mics that far outperform their price range. Rimskidog on this forum has a rather fab pro studio (RedCircle), and is more than happy to give his knowledge and experience to those who need it, top fella, listen to him! As for software, get Reaper, its very very cheap ($60 if you make less than $10000 a year with it), very full featured, uses significantly less resource than PT and Logic) has better routing than either and should be considered ready for Pro use. Its excellent! If you dont use the machine its running on to connect to the interweb, downloading warez & pr0n you wont get a virus, simple as. Only put known software on there. The caveat to that is some of the brilliant free VSTs available, but download them onto a different machine and virus check them, then burn a CD - simples! £1000 on a PC these days running Reaper will handle a 32 track mix down for sure. Easily. My 3 year old work Dell PC running Reaper can handle a 24 track mix down with massive VST use for crying out loud! Get a couple of good quality pres (ART Pro Channel punches above its weight), and bit of hardware compression, and a hardware reverb so you can add a splash opf it to headphone mixes without wasting your CPU power. Enjoy the whole thing (I like buildiung them as much as using them personally) 20k will buy you a really really nice home studio!

+1 to the above....

There are a squillion differences in the recordings though Tape saturates gently, compressing the signal in a very pleasant way true, but you've also got a different ickle mic and mic-pre, that is also probably on its limits recording a band, often those little ghetto blaster and mono tape recorders had simple limiters on the inputs to help cope with loud input too, they will also be doing changing the mix. Tape tends to have less top end, (and often less bottom) and the inescapable hiss (even on metal with dolby) also changes things. Are you in the same room even? Are you using all the same gear? Nevertheless if you take your digital recordings and master them you will probably make a huge difference with some careful buss compression and a half decent tape saturation emulation, and maybe a bit of eq, even a touch of stereo widening (oo-errr). PM me and I'll do one for you if you like, best if you can send me an example of what you're after too (love a bit of audio mucking about me)....

Aguilar db112?

[quote name='Rimskidog' post='912811' date='Aug 2 2010, 02:11 PM']Er... that's really not the way it works if you actually want to get a decent sound. The trick is to capture the sound you want going in rather than trying to fix it in the mix. Anything other than this approach is pretty much doomed to failure. Let them cut any sludge that obscures the mix afterwards (that's what eq is actually for). It ain't rocket surgery. Quality in = quality out.[/quote] + all of them.... This is the absolute reality of recording. If it ain't there 'on tape' you can not add it later. On the flipside, if its there and you dont want it you can often lessen it (to some extent), depending upon what it is of course.

Stop worrying about the notes. You only need a single not to be syncopated, so make life easy, this is about how and when you pluck, not about the notes. So, taking this to the nth degree, its not even about how you play a bass, its about how you subdivide music, so take that bass back off, you aint ready for the bass, you got hands, you gonna clap. Good reason for this is it a pure rhythm thing, second its about listeing an feeling music, NOT about playing the bass, the music is in you, the bass is a tool to make that music. Set up a simple 4/4 drum pattern, snare on 2 & 4, kick on 1 & 3 , hats on quavers (1&2&3&4&). About 80 to 90 bpm Clap with kick. Thats how you think about music, this is so easy for you right now, you dont even have to try. The longer you do this the more bored you'll get. SO, clap the snare, this is actually going to make you feel odd, cos it will swing the bar if you do it right, rather than being a bit self conscious, come on move like Stevie, and clap that 2 and 4! There is actually an almost syncopated quiality to this if your really get it going I think. Keep at it for a minute, really really get zen like about it, you should replace the snare exactly with your clap, but make the groove swing harder. OK OK, its getting boring again so stop. Now clap the off beat &'s 1 [b]&[/b] 2 [b]&[/b] 3 [b]&[/b] 4 [b]&[/b] keep this up for a good few minutes, you should hear a ska feel pumping and bouncing along. If you dont, pu t on some ska and then have another go, you have got to get this one down! Now a little bit funkier go for this:- [b]1[/b] & 2 [b]&[/b] 3 [b]&[/b] 4 & That is a syncopated groove with a heavy one, which is funk (ask Bootsy, thats is what he'll tell you) OK the best way to count semi-quavers (IMO) is like this:- 1 e & a 2 e & a 3 e & a 4 e & a So to add a pinch of real syncopation to the mix slow te drum machine down to 70bpm and try this 1 [b]e[/b] & a 2 [b]e[/b] & a 3 [b]e[/b] & a 4 [b]e[/b] & a and this 1 e & [b]a[/b] 2 e & [b]a[/b] 3 e & [b]a[/b] 4 e & [b]a[/b] then this (this IS hard)):- 1 [b]e[/b] & [b]a[/b] 2 [b]e[/b] & [b]a[/b] 3 [b]e[/b] & [b]a[/b] 4 [b]e[/b] & [b]a[/b] Finally a groove:- [b]1[/b] e & [b]a[/b] 2 e [b]&[/b] a 3 e [b]&[/b] a 4 e & [b]a[/b] Now pick up your bass, go back to the top of the lesson and only play a low E, staccato to start with and go all the way through these exercises, then legato, then mix and match, have fun. Now listen to the entire works of The Meters and learn to clap the bass rhythms.... Now you are so syncopated you'll be asking how to play straight!

Yup, they are all dumbstruck. My work here is done (exits stage left with cape swirling) [size=4]M[/size][size=3]wahahah[/size][size=2]ahhahaa[/size][size=1]aaaaaaa[/size]

[quote name='bubinga5' post='910765' date='Jul 30 2010, 10:17 PM']i think a great test is show some one a funk bass line..ok they could prob play it note for note, and get the feel bang on... then there is funk playing where you have to improvise... thats different....[/quote] How is improvising funk so hard? Some of the best funky bass is a single note, the intro to Mothership Slinky in B major off BSSM is a funky as hell, and its one note, and a simple rhythm, anyonoe who had spent any real time concentrating on listening to funk could do something similar, and it would be an improvised funky bass line. Its not some big mystery, really, it just takes listening time to get it into your brain, then any player with any facility can regurgitate that feel.

[quote name='Mykesbass' post='910716' date='Jul 30 2010, 09:30 PM']I still think you can teach "feel". Anyone seen Gareth Malone in his various BBC programmes teaching a bunch of no hopers to sing Opera? To me there's as much "feel" in that as there is in Funk. Sure, it's not all in the dots, but I think it is all about inspiring and coaching. It's not that some people were born with it and some not.[/quote] Errr those 'no hopers', well I hate to break this to you, but a fair number of the chorus that weren't right in front of the camera (being the poor downtrodden 'no hopers') were kids from great homes who had been through Brighton's Music Service from the age of 5 onwards, I know cos I saw them do it, when I was taking Plux there too.... And funk may be hard to teach, but it can certainly be learnt. The trick is, as with any style, absolute immersion in it. I listened to noting but funk when I was exclusively playing in funk bands, and I was considered none too shabby. I'm not as good at it now, since I dont tend to listen to it nearly as much, but whatever I play it always has an element of funk in it, once you have it it cant be lost either. And slowing anything down makes it harder IMO. Any idiot can play stuff at warp speed and thus hide the mistakes in a flurry of plop. Thats how I get away with it

Wasnt really too interested in covers at the beginning, but I'd have manged a decent rendition of Relax at pretty much any point ) First track I really learnt was either Anaesthesia Pulling Teeth, or RHCP's version of Higher Ground. What a tart

Jeez, look at all the tumbleweed..... 26 Downloads, not a single comment, am I to believe the community has been rendered mute by the staggering qualities of the mix and playing? That would actually be a bit of a first