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[quote name='JTUK' post='856946' date='Jun 4 2010, 10:30 AM']I just nicked little tricks that I liked from whoever and now they are one big mash so never set out to copy or ape anyone. I just wanted to give myself a box of tools to do what I wanted. I hope I sound like me... and have empathy within my style with what I am trying to play. I really can't see the point of sounding like some other guy... no point at all.[/quote] +1 from me!

Saw him last night at the Brighton Corn Exchange - took Plux along. No denying he can play, I felt the band took a while to really warm up to it last night, the sound guy was fiddling a lot too, the bass sound was pretty muddy, he was going through an Edent WT800 and 410, so it wasnt the bass rig, dont think there was any bass in the PA to speak of though, and the trumpet was ear splitting most of the time. But once they got a full head of steam they were brilliant, Kyle was (nearly) as cool as his pa, fantastically lyrical solos and superb compositions (never heard his stuff before), some breathtakingly fast grooves, but the highlight for me was his bass/piano duet of the theme from the film Iwo Jima (which he co-wrote), really beautiful piece, played exceptionally well, just too short, I wanted it to go on for a lot longer! Great evening, thoroughly recommended, even for those of you who are not into jazz first and foremost!

Once oin a gig (old repeated;y boiled strings doesnt mix with popped chords!), once the first time I put a set of strings on a 5 string (oh, its a B then ) You live and learn!

All about [url="http://www.ovnilab.com/index.shtml"]compressors[/url] (follow the link) +1 to tube heads, and any other overdrive causing a form of compression If you want a decent comp you need a rack device, I rate the Focusrite Compounder, you can pick them up for under £200 on evilbay, and they sound the beans.

+1 for the meths tube, works a treat for me!

Another +1 on Markbass It is great gear, each bass I play through mine sounds like that bass, IME & IMO the amp does not particularly colour the tone at all, its just a great amp. Masses has been said about the quality of the MB amps here and on Talkbass, nothing more to add....

I'm after a similar service in or around Brighton, any ideas?

Nope, you just couldnt hear the bass then....

[quote name='tombboy' post='854017' date='Jun 1 2010, 07:41 PM']My advice at this stage would be to beg, steal or borrow (not steal, obviously.... you may get into trouble!!) a Zoom H2 recorder and set that up in front of your bands stage setup. It should provide you with a decent representation of what any potential audience would be hearing Failing that, you may need to spend a lttle cash. BTW, have you tried local colleges and/or universities and their sound engineering departments? Always full of eager students who would jump at the chance of the engineering/recording experience and the studio facilties are usually heavily subsidised too. [/quote] +1 This was recorded in a reheasal studio with a Zoom H4n (it's a friends band called Lines Horizontal). This is by far the quickest way to get a reasonable result. Note you really will have to get the band levels absolutely right (obviously) and you will not be able to hide imperfections with overdubs - the production will be as glossy as you actually sound, on the plus side its about as real a document of a bands sound as you could ever need....

Open them up. I would check the impedance of the speaker first, then if there is a circuit board on there, then remove the wires to the speaker and to the jack and wire directly from speaker to jack. If there is no circuit board but the tweater is a piezo + capacitor, just take it out of the circuit. Should be fine...

Exactly which sansamp doo-hickey is it that you have? They do a couple of programmable jobbies you see...

I've seen this (and heard it), but IMO LoRiders aret mid scooped at all....

I cant resist, now that I'm in the mood for some Mrs Davis Just ahead of the beat and steady as a rock right the way through (LG on bass again I think):-

Lo Riders all the way. I am the man who likes to punch through walls, and these are the strings that do it the very best IMO. They have a gargantuan tonne of tone. They sound absolutely superb slapped, tapped or fingerstyle, feel great and are not particularly high tension, for all that they are marginally higher tension than the exceedingly pliable HiBeams. Love them to bits! Of course you may not have the same taste as me

[quote name='Sean' post='848155' date='May 26 2010, 07:53 AM']I understand playing [i]ahead of[/i], [i]behind[/i] and [i]on [/i]the beat but if the drummer is playing [i]ahead of[/i] or [i]behind[/i] the beat, how is the beat defined? i.e. where is it? I'm guessing that it's the "natural silent click track of the universe"? And, if the drummer is ahead of or behind the beat, should I play relative to the drummer or the beat? Surely, if everyone in the band is playing (the same amount) behind the beat then it becomes [i]on the beat[/i]? I'm also guessing that we're now into the vagaries of "the pocket" and as long as it works then all's well?[/quote] Time for some more Betty Davis I think. The drummer here is (to me at least) swinging behind the beat. Which is damned hard to explain, but he feels sooooo laaaazzzzyyyyyyy Whilst Mr L. Graham is on the dot for the verse groove and a smidge behind for the stab fill (again this is how it feels to me) And Silddx, mate, if you havent heard the Meters, where have you been baby???

+1 to Bilbo And dont underestimate reading chord charts either....

Started on bass Am utterly hopeless on guitar, could not give a monkeys about that though. Would love to be able to do more than boom-splat on drums however...

[quote name='dlloyd' post='849243' date='May 27 2010, 10:42 AM']It was what it was, a light entertainment programme aimed at a general TV audience. The choice of artists had to reflect the musical tastes of those watching, who wouldn't have a clue who Bootsy Collins was, let alone Victor Wooten or Jaco Pastorius.[/quote] No, they wouldnt necessarily know the name of Bootsy Collins, then again most of them wouldnt be able to name a single bassist, and if you ask Joe Public to name a bassist they are more likely to answer with Flea or Mark King than anyone else IMO & IME (we tried this at a pub quiz - results where hilarious). Lemmy might (just might) get a nod from a very select few, them with the bullet-belts and stick on facial warts. Few would name the bassist from the Who, certainly not the Stone Roses, or Happy Mondays though, especially if asked to name best bassists. No one on here is going to name those people as high on the list of greatest bassists. However if you asked the same people what song is this - and played them Sex Machine, they'd get it right. Almost everyone knows it, so letting them know that the bassist was a bloke called Bootsy who went on to play in a band called PFunk would be fine IMO. Especially if you then point out that said PFunk were a huge influence on the likes of RHCP and Flea. It was supposed to be about great bass players, not bass players in indie bands you have probably heard of ffs!

Make sure they understand that the Mix rate is PER mix PER song. Otherwise you'll get the usual "Can you just tweak this/that/the other" until you're blue in the face. Also if they want to be present when mixing thats fine, but if they want more than one member of the band present then the rate may change if it becomes mix down by commitee, which can take hours, and is very non-productive.

Dont lump Sleeper in with Kenickie though, The It Girl is a fantastic album, do yourselves a favour and have another listen

It sucks balls If I want to watch a program about music I tend to look for anything by Howard Goodall, the BBC are far too happy to use a bunch of 'celebrity' presenter types with absolutely no knowledge of the subject at all, who are then paraded as 'experts'. Yes it was lighthearted, but it was and will remain utter sh**e IMO, not just as a result of the bassist bit (what no Bootsty!) but every part was just shockingly narrow minded and limited. BBC and music, my arse!

[quote name='Mark Latimour' post='847207' date='May 25 2010, 09:29 AM']Hmm, my finance is in Paris on her hens weekend that weekend, I may be able to make it. I am not sure how much gear I can bring, but here is waht I have: Ritter Roya "Casa Fronto" 5 String Sadowsky NYC PJ4 MTD 535-21 Mariyln MTD 535-24 Kennedy Custom 6 string with Alembic running gear 2x Accugroove Tri112's 1x Markbass LM2 TCE Polytune FEA Labs Growler Aguilar Octomizer 3Leaf Groove Regulator Subdecay Quasar TCE Nova Comp SFX Micro-RD Big JOhn Granny Puker WMD Geiger Counter Civillian Issue Analogman Chorus w/deep Subdecay Echobox Eventide Pitchfactor Boomerang III Phase Sampler Radial Big City ABY Switcher I probably couldn't bring it all, but could bring a selection perhaps. Mark[/quote] Ooooh, these two:- Aguilar Octomizer 3Leaf Groove Regulator Would be really interesting!

Are his instruments priced according to what the market will bear, or the work that has gone into them? Cheeky I know!

I think its a lot simpler than you are making out. There are IME two types of soundguy. Good and Dreadful. Given the right amount of time a Good sound engineer will do their best to use the PA to amplify a band such that they sound as good as possible in FOH, and all have decent monitor mixes. At least as good as the venue will allow... Given any amount of time a Dreadful sound engineer wont manage that for the team on stage. They may get a great kick sound, or guitar sound or xylophone sound, the vocal may be super, but someone on the team will not. As a result of the pecking order of these things and the true difficulty of making bass sound really good in a live space we often sound like mud. The fear that the guitarist is going to have a million different levels means that the Dreadful sound guy, rather than asking the important questions and pushing on, gets a mini set from each guitarist demoing there new pedals. Only way round this is either have your own (great) sound guy OR do sound yourselves.