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Stone Roses - Fools Gold Rush - YYZ The Fratellis - Chelsea Dagger Stevie Wonder - Superstition

Stone Roses - Fools Gold Rush - YYZ The Fratellis - Chelsea Dagger Stevie Wonder - Superstition

Personally I really like my Corvette standard. Bubinga body, ovangkol neck, wenge fretboard. I much prefer JJ configurations on basses, and most of Warwick's stuff tends to be PJ or humbuckers. Plus I have small hands, and lots of the Warwicks I've played have had fat necks. I'm lucky in that mine is made in the only year (2009) where they were made in Germany but with the slim necks, at least that's my understanding.

[quote name='Jazzneck' timestamp='1371725815' post='2117352'] Try a bass drum instead of a kick drum. [/quote] Kick makes a lot more sense when you're working with lots of channels. Having simply "bass" and "kick" as opposed to "bass drum" and "bass guitar" is quicker and easier.

Before you spend forever messing about with EQ trying to get the drum to sound how you want, try and find an occasion where you can sit and spend an extra few minutes on the kick drum, and move the microphone around into different positions. You might find you can get the sound you want without having to touch the EQ, if you can get the microphone in a suitable place. I've never personally found a D112 to be a great microphone for those really deep kick sounds anyway. They're more effective (in my experience) for the beater sound. My favourite low end microphone for a kick drum at the moment is the Beyerdynamic TGX-50.

[quote name='Mornats' timestamp='1371582998' post='2115910'] Is that a Fender? I saw that video the other day and wanted to know what type of bass it was. It looks rather groovy. Sounds it too! [/quote] I assume it was the guitar that was being discussed.

And I think by the time you're busting out your scientific calculator and some phase charts you're probably at a point where can just design your own cab to do the trick for you.

[quote name='wateroftyne' timestamp='1371411740' post='2113601'] They both need to generate revenue. That's as complicated as it gets... [/quote] Right, but I don't see any evidence to suggest that Basschat isn't generating [i]enough[/i] revenue.

[quote name='wateroftyne' timestamp='1371411412' post='2113594'] Is it not? [/quote] It's certainly not my understanding that anybody makes their living off of the site, or intends to. Certainly, it does generate money, but that's (supposedly) to cover the costs of running a website like this. I suppose we could argue the semantics of what a 'business' actually is all day, but my point still stands that the two are worlds apart.

[quote name='redstriper' timestamp='1371410958' post='2113578'] The recession is not hitting every part of every market, in fact many business are booming, especially those that are able to adapt and work with consumers, rather than alienate them. Ebay/Gumtree started small and grew by adopting a business model that appealed to their users - not by burying their heads in the sand and blaming the recession. I am not trying to cause an argument, just simply putting some alternative views across, if you refuse to read the writing on the wall, fair enough [/quote] The key here being that eBay and Gumtree [i]were [/i]businesses where Basschat is not.

I'm going to do a bit of maths, which will probably be flawed. I'm going to use the frequency 37Hz just because that happens to be the lowest part of the frequency response of the cabinet I use (BF S12T). 37Hz is, as we know, 37 cycles per second. Which means it takes 0.0270270 (etc) seconds (1/37) for one cycle at that frequency. The speed of sound is roughly 340m/s depending on temperature/altitude variables etc. 340 x 0.0270270 (etc) equals 9.19. So if I've done this correctly, a full cycle of the lowest frequency that my cabinet kicks out takes 9.2 meters to occur. I suppose if I've done that correctly it explains why distance makes low frequencies sound better.

1. I'd been to see a guitarist friend play with his group at a school concert and the whole thing looked like fun. I needed another hobby so decided I'd take up an instrument. I was never drawn to the idea of guitar or vocals, even then I shy'd away from them because I just associated them with being an attention grabbing c*ck. Plus, playing in a band was the main appeal for me, and everyone I knew was a guitarist, so I figured they weren't really in demand. I initially wanted to play drums, but had no space for them and our neighbour situation wasn't appropriate for it really. 2. My dad (a guitarist) wanted a bass to mess about on, but my mum was never happy about new gear acquisitions (the usual story) so my dad offered to buy me my first instrument if I took up bass, on the provision that he could use it too. 3. My mate (the guitarist I went to watch at school) had a bass knocking about, and offered for me to go round to his so he could show me the ropes. I just remember the feeling of a bass note being quite empowering the first time I played it, the depth and power behind was something I was just drawn to.

The German one sounded far more like the Tesco one to me. I think the whole "subtle differences" thing is simply to do with how tuned in to that instrument you are. I suspect most of the "subtle" differences our ears pick up on as bass players (for instance being able to identify jazz basses, precision basses etc in a mix) would go just as easily over the heads of a violinist. Perhaps I'm wrong, though.

I've owned three Fender J's (maple board AM standard, rosewood board AM standard and a MIM 70's reissue) and one Fender P (US standard). The Precision was heavier than any of the Jazz basses. Still had nothing on my Stingray though...

[quote name='hiram.k.hackenbacker' timestamp='1371143422' post='2110494'] I don't buy the line that sliding pick-up's are The Holy Grail of tone control or they would all be doing it! I've owned a couple of basses with some nice electronics that were capable of pretty much anything. [/quote] I don't think anybody suggested that they're somehow the holy grail, but there's no disputing the fact that it's going to add an extra dimension of control over the sound of your instrument.

[quote name='ead' timestamp='1371105452' post='2109760'] I've never had the occasion to speak to anything Musicman related as I've never had one of their basses. Other than that... [/quote] Well I can't see Musicman making a claim to that based on my experience.

I've never had a need. At times I've only owned one bass. I currently own two, but neither are back-ups, I couldn't afford to spend that on a back-up, which I bring to a gig simply depends on my mood. A bass "breaking" is a freak occurrence. At worst I can imagine breaking a string (never managed that either) but I carry a spare set with my gig stuff. Far more likely to run into amp/pedal/speaker problems (which has still never happened critically in hundreds of gigs), in which case I've had it anyway because there's no chance I'm going to lug a replacement for everything around.

[quote name='ead' timestamp='1371037984' post='2108903'] +1 for Spector customer service. Albsolutely top notch and easily the best by a big margin of all the larger manufacturers. [/quote] Have you dealt with them all?

Keep it. String it upside down and develop a sort of metal-Hendrix look.

The end of the fingerboard after the 20th fret is too angular, they're usually rounded off. The scratch plate comes too close to the end of the body and is a dodgy fit (look at the lovely cut-out for the truss rod too), the proportions are all wrong on the body, specifically the horns, the decal is an absolute dog, the colour isn't legit, all the hardware appears to have been swapped off for cheap crap (the knobs, the gold hardware), and look at that nut... brilliant. Can't believe anyone could put that sort of money on something so obviously fake.

I sold my Warwick Corvette because I needed some cash, what a mistake that was. Fortunately managed to buy it back and it's never going anywhere again.

I don't bother with insurance, because I'm under no illusions that it ever actually works. Both of my basses are around the £1200 price mark, my pedalboard around £700, my amp and cab collectively around £1500. By gigging a £200 bass I'd be reducing the potential replacement cost from £3400 to £2400. Okay, a considerable saving, but the thought of digging up £2.5k definitely doesn't appeal to me regardless of the situation. If I gigged on a cheaper bass, I'd still be using an expensive rig. I keep my basses in their case between sets (because in a room full of people you don't know, you'd have to be batshit insane not to, without bringing booze into the equation). As likely a cause of damage as anything is the PA toppling over, and then what it hits is anyone's guess, especially in a crowded pub set-up. My amp, cab and pedalboard are all potential targets, and no more built to withstand 100lbs of speaker cabinet and potentially one drunken idiot landing on them with force than my basses. So do I use a cheaper rig and board too? If I go that far, what's the point in owning nice gear just to sit and look at when I'm at home because I'm too afraid to take it to a gig? If a gig is too dodgy/risky, I simply won't play it. If I consider a bars patrons particularly liable to damage my bass, I'm not leaving my rig sat around them either, and I can't just put that in the case between sets. A bit of judgement and basic precaution has served me well for hundreds of gigs. [quote name='TimR' timestamp='1370885919' post='2106924'] One of the criteria I used when buying my bass was; would I be happy gigging it? [/quote] Given the post directly above, I had to laugh when I saw this.

Fantastic instrumentals, horrid vocals. Get rid of Morrisey and I'd love to listen to their tracks instrumentally.

[url="http://www.youtube.com/watch?v=my6bfA14vMQ"]http://www.youtube.com/watch?v=my6bfA14vMQ[/url] [url="http://www.youtube.com/watch?v=oy8HnfD4DQ0"]http://www.youtube.com/watch?v=oy8HnfD4DQ0[/url]

I experienced this with a MIM 70's reissue bass that I bought from PMT in Leeds a few years ago (it was Sound Control back then I think). Took it out of the case one morning, and the skunk stripe could be felt on the back of the neck, and there was a slight gap visible on the back. I'd made no adjustments to the setup since purchasing it, there had been no knocks, extreme temperature changes etc. I didn't like the look or feel of it at all, so I took it back to the shop to ask for their advice. They seemed to think it was sufficient reason for a return the bass and happily swapped it on the spot for an identical model they had on the shop floor. Never had any bother with the replacement bass.