51m0n

Only allow yourself single note fills for a month, just do rhythmic stuff. After that its all gravy....

I'd say you would struggle to beat either an ae410 or an hs410. They are 4 ohm though so you'd need an amp capable of driving 2ohm to add another one later. Having said that I cant imagine when I would need more power than I have with my MB sa450 into my ae410 - its extremely loud indeed! Were you really after full on hifi, then the Barefaced Big One (with the additional tweeter) is the absolute canine undercarriage.

[quote name='Golchen' post='589003' date='Sep 3 2009, 07:11 PM']I don't get compressors??? Forgive my ignorance but it just seems like a nuance remover?[/quote] You might think that but in fact a properly set up compressor is the opposite. If you play your accents 3dB louder than your normal playing, and your nuances and ghosts are quieter by 3dB then in all likelihood the audience wont hear the nuances very well because they are too quiet, and the guitarist/vocalist will ask you to turn down cos your accents are too loud. A compressor lets you play with the same feel under your fingers but allows the audience to hear the quietest bits (although psychoacoustically they will seem quiet still due to difference in attack, timbre etc as you plucked softer) whilst taming the loudest accents to the delight of your band. Nothing stops you playing with dynamics like trying to be heard. Nothing stops you playing quieter with a compressor, its a fallacy.

pointy head stock ? yes pointy body with unnescessay unergonomic siticky outy bits to make it look all tough and grumpy? yes very black? yes Its a metal bass, the pups and pre anre irrelevant, it is designed to look 'metal', its aesthetic design is dictated too by the preconceptions of what is 'metal'. Can you use it to play other music? yes, of course. Will you look like a tw@t? almost certainly.....

Just add 2 Big Ones

[b]Bugera[/b] BTX36000 The Nuke 3600 Watt Bass Amp Head Is that another name for Behringer then???

[quote name='stevebasshead' post='588669' date='Sep 3 2009, 02:37 PM']The above involves compression...of a sort... It could even be described in terms of: Attack Compression Threshold and Release [/quote] ROFL! I'm sure this is really helping the OP too!

[quote name='Al Heeley' post='587642' date='Sep 2 2009, 04:34 PM']This represents the approximate time taken to have a really good poo[/quote] That can be a considerable time!

my Roscoe

oh boy.... too many variables to jsut say "do this" For instance level going into the device, difference in volume between styles from your fingers etc etc. However if you want to transparently level something you need to go along the lines of:- very very short attack long release low ratio (2:1 ish) low threshold (so its always compressing. Open up the attack for more of the initial transient to get through. Shorten the release such that the compression fades out with the sustain of the bass to allow the next transient through. PLay with the above for a good log while!

Mark is an exceptional chap. His shop is so good that even at 147 miles from me, his is the shop I prefer to go to. Big warning though, take your credit card and be prepared to come out a couple of hours later with a bemused grin a superb new toy and some explaining to do Its totally expected for me that Mark should go the exact same extra mile service-wise for someone looking for a gigbag as much as he does for someone looking to spend big bucks on a new bass or rig. His after sales service is exemplary too.

Brilliant mate, now the fun (read: hard work) really starts

Top stuff matey!

[quote name='BigRedX' post='570021' date='Aug 15 2009, 04:04 PM']I don't think the fact that the cabs have different drivers is important when comparing them. A speaker cab either does the job you need or it doesn't. We need to stop looking at the numbers in the specs and use our ears instead. The more speakers I try I find that the actual size and number of drivers in a cab is becoming less and less relevant. What matters is: 1. Do you like the tone? 2. Is it loud enough? 3. Is the weight manageable? 4. Do they fit in your chosen mode of transport? 5. Can you afford it? That's what's important.[/quote] This is such a wonderfully erudite and condensed gem, is there any way to sticky that post in the amps section or just pop it in the wiki? I dont think anyone with real experience on the forum could really argue with it. It blows a load of myths out of the water, and is probably the best advice you could give for someone looking to buy.

[quote name='BigBeefChief' post='581591' date='Aug 26 2009, 04:37 PM']Similar story with me actually.[/quote] errr are you pulling my chain again BBC???

[quote name='bilbo230763' post='581576' date='Aug 26 2009, 04:29 PM']Music theory has moved from beign a way of explaining the sounds that are made to becoming a set of instructions on how to make the sounds. Using music theory to develop compositions could be seen as derivative. In reality it works both ways. The road from total tehnical musical knowledge to total intuitive technical ignorance is a continuum not two absolutes. Same with total reader (can't play without a score) and total improviser (free player) - most people are a bit of both.[/quote] This is an interesting point. For all my not be a sight reader, I've lost count of the number of bands I've been in, in a writing process, where I am by far the most advanced with theory, and have used pure theory to help come up with a nice chord sequence/bass-line/melody/rhythm, especially for getting from a section A to section B little joiny uppy bit without sounding too contrived. I like to think I know just enough theory to be useful in this way. I'd like to know more - particularly more complex harmony stuff, but it does start to make my head spin when I read about it. I think it really needs someone there showing you examples of how this stuff works. Maybe we could sort something out like that at a bass bash?

[quote name='BottomEndian' post='581547' date='Aug 26 2009, 04:12 PM']How does that work, then? I'm genuinely interested, cos I've been able to read notation since I was 6, so anything else is pretty alien to me.[/quote] Its all thoroughly mathematical though, you just learn the intervalic pattern of different scales (tone, tone, half tone, tone, tone, tone, half tone, being major). The expand your knowledge by getting a really good grasp of the scalar intervals that make up different types of chord (minor third, major third, minor third stacked for a minor 7th say ) Then learning all the diatonic harmony from there. (I ii iii IV V vi viio etc) Then you can easily go down the modal theory route by use of intervals, even easier since you are oconstantly comaring to major or minor scales (Dorian is minor witha major 6th for instance, lydian is major with an augmented 4th) You can cover all sorts of theory without naming a single note in effect. Thats how I got through college without even realising it. Applying it to bass is easy since the tuning is in stright fourths.

[quote name='alexclaber' post='581538' date='Aug 26 2009, 04:06 PM']I would like to point out that you can have a good grasp of theory but not be able to read standard notation! Alex[/quote] Thought I already said that?? Now you're repeating me. Maybe... Or not?

[quote name='bilbo230763' post='581534' date='Aug 26 2009, 04:03 PM']I think I was referring to the 'I'd rather be playing with my xbox' comment as much as the not reading one. You can be great without reading. Obviously. I just reckon you could be greater if you did and that you would get there quicker. Is McCartney great? He's popular but are they the same thing? Is Jilly Cooper a great author? Is Pam Ayres a great poet? Discuss. [b]PS - if anyone here is considering taking me seriously, please don't.[/b][/quote] Errr did any of us ever give the impression that we took a man dangling carrots seriously, ever???

[quote name='bilbo230763' post='581507' date='Aug 26 2009, 03:39 PM']Then you will always be a lightweight. Your funeral.[/quote] Oh dear, he we go again with the 'you cant be a great player if you dont read' argument. Close the thread right now and save everyone the time and effort......

[quote name='alexclaber' post='581248' date='Aug 26 2009, 12:27 PM']We're currently revamping our band because it's just getting too complicated musically - my brain is certainly so worn out from everything during the day that I just want to rock out on bass and not worry about singing lead at the same time as playing syncopated basslines with the odd time signature weirdness thrown in. Tonight I am digging out the fuzz and stepping away from the mic (not that I could sing right now after a failed attempt at flight on Sunday ended on my face...) Anyone know any singists that they'd like us to take off their hands? However, even if you're allergic to theory, I do think basic chords and their constituent arpeggios are worth the antihistamines. Alex[/quote] Tell you what, you sing, and I'll do the bassy bits for you

I'm very much with Alex on this. I spent years tweaking and tinkering with my basses. I've had what I always thought were really good results, playability genuinely improved, as did intonation and tone too (action choking the strings and pickup height are the two biggest offenders on the tone fromt for a setup IMO). Then I got the Rscoe, and either the simple nature of my old basses' necks/trussrods or the singularly less than perfect fret trueing on them or whatever meant I could never hope to get an action close to as good as the Roscoe across the entire board. It totally reeducated me as to how good an action can get. Which is nice, since I own it. But now I darent fiddle with it at all

[quote name='Wil' post='581105' date='Aug 26 2009, 10:43 AM']I have absolutely no desire to learn to read dots on a page. However! I was attempting to solo over Jeff Beck's "Cause we ended as lovers" last night and I couldn't help but wish I had a greater understanding of how the chord changes progressed, and how this affected what notes to use. Alas, I'm sure the only way to develop this understanding is learning dratted theory.[/quote] Its worse than that though, you can learn the theory in a purely abstract way until the cows come home, you [b]still[/b] wont be able to play over the changes until you've spent years mastering applying that theory too.... Thats it, I've had it with this muso stuff, I'm going to start a Jam tribute band instead, or maybe Oasis (actually no I draw the line there), join BBC at his much easier game and stop worrying about the fact that I struggle with anything with more than 4 chords in it from now on