nottswarwick

shadows..is great. joan osborne of all people sings a superb verion of a tune whos name i forget. must catch it again.

these done yet?

Rudd is the drummer I think, and now Williams is mentioned I remember he is bass man. BTW, wish I still had that jazz bass Jase!

I think so, yes

it is hard! Use a plectrum, but it can be played finger style, it is just really hard. I have to do it for a chic medley, and I cannot really do it right all the time, can just about get away with it live, but I would not like to record it. the man is a legend, and my fave player. Bar none.

the drums are pretty key in this too - it may not be all your fault. Take a typical rock feel - a nice "wide" groove, relaxed "broad" drumming feel, if you know what I mean - think some Bon Jovi stuff, for example Living on a Prayer, I have always found this to "sit" best when the drums are not exactly "behind" the beat, but certainly not in front or pushing it. Makes for a nice laid back yet powerful, full sound. I did an exercise with my band at a recent rehearsal - we jammed the aforementioned tune., and I asked the drummer to play "on" the beat but with relaxed shoulders (I used to teach drums...). I then played "on" the beat, and then again "ahead" of the beat, and then slightly "behind" the beat, and the difference in feel was quite marked. For me, the behind the beat version gave it a some real swagger (although I read that Hugh Macdonald actually plays it straight in the centre of the beat,........) Plus Malcolm Young is a superb second guitarist, but the bass player (forget his name) is a well recognised unsung bass hero, and a classic example of tasteful rock bass work. Listen to "Shoot To Thrill" from Back In Black (I think??) - the way he subtly varies things throughout, the pedal note under changing chords, and the great unexpected climb up a note in the second chorus instead of down. Brilliant. The feel on this one seems to me to be bass drum and hi-hat driving on the nail, snare drum gving it a bit of width slightly late, and the bass feels just toward the back of the pocket to me (?), so it swings along superbly. Also, You Shook Me All Night Long has a verse with no bass, and you can really see how importint the drum feel is in there - a real basic yet slippery groove, which could be could to play along with? Also, the Stingray was a bass of choice for alot of the recorded originals, with the punch that comes with it. But I would get the drummer to have a listen to how it is done, and then try it a few different ways until one fits for you. Bit of a ramble there, but I love these threads to talk about the finer points. C

snap - I too would like a 151hr to go wsith my 2*10. LEt me know where you end up and at which price please matey? Cheers C

what is it?

looks good. does that mean you can sell me my old cab back?

nice replies, thanks Mine is in fact faulty. Bass centre sent me another, and it is fine, so I now do not have a prob at all.

clearly 2 views here, adn it is actually slightly off the main topic (which is "what type of backup", not "do you need one"). For me it would depend on the type of gig. I take tools and can repair most things, but if you are engaged on a professional gig, being paid as such, and are the only band, it is madness to not have the spare bass. Even if it is a banger, and stays in the case. Crazy not to...imho obv..but a £150 yammy will do! But if it is a pub gig with another band, sure, not as crucial at all. Horses for courses. C :-)

my view....if you are doing semi-pro or pro gigs, you need a spare instrument on stage, without question. Possibly rare, but strings do break, batteries do die suddenly, electronics do fail...rare I know, but if this happens and you are being paid you need to be able to pick up your spare immediately and carry on. If you have to cut short someones wedding gig, you are really not going to be popular. As to how many strings, personally I could finsh a gig on my 4, even tho I usually do use a 5, and could substitate the lower notes foroctave up..but that is just me. Having said that, I take 2 fivers. I have actually only needed ot use the backup once, by the way.

Welcome - another Nottingham lad!

[quote name='dub_junkie' post='133414' date='Feb 4 2008, 08:54 AM']+1 on the envy green 5 string. Its gorgeous and the other 2 light my fire as well best porn I've seen in a while thanks for sharing[/quote] Thanks everyone - I like them anyway. Been riffing on the SR4 tonight - taking a while to get used to just 4 strings again. Ultimately, i will be using the 4 string mainly with a pick. Our indie project is is doing typical Kaisers/Fratelis/etc etc, so this will suit ideally. And some chillis etc, so ditto. Still love the fives tho. All are sufficiently different to mean they will all get played. I will also practice my exercises (finger alternations etc) on a different bass each time, to get as flexible as possible. Anyway, thanks all for the positive words. C

[quote name='silverfoxnik' post='133366' date='Feb 4 2008, 12:01 AM']Nice collection! I particularly like the look of the G&L; what Roger Waters would pick up if he was a young kid today just starting out...[/quote] Thanks. Another thing about the G&L is that the B string is not as strong as the SR5. It is by no means bad, and probably just suffers from the fact that the SR5 is so good!

Hi Right, about time to do this, especially in the light of the facT that a SR4 has joined the herd this evening. First up, my G&L 2500 USA. Got on Ebay last year. Great gigging bass this, my fave sounds are the pumpud up precision tone, and the mix of both pups. Not that keen on its Stingray impression though. ChunkY neck, comfy to play, not too heavy. Had to put some foam in the pup mounting springs to stop the "ringing" due to undamped springs (thanks to talkbass USA for that one..) Now fully sorted, and a great function band bass: Next is my SR5. This is a 2004 envy green limited edition model - one of 100 or so. It has a black headstock and black knobs. A lovely lovely bass to play. Really low action, the best I have played to date. A tad on the heavy side, but manageable. Thinner neck than the G&L, and was my main bass until the G&L came along. Purchased from our very own eubassix. Top bass, will probably own this one forever. Last up is my freshly acquired SR4. Natural finish, RW neck. Just got it today in a deal on here. Really light bass, super comfy. Better than I recall my last SR4 being, it is full of life. Need to tweak the set-up still, but plays very nicely already. The back of the neck is really smooth and nicely figured - nicer than my SR5. I will use this for my indie/rock band, and for long function band gigs where the heavier 5 stings become tiresome. So there we go. You can also see my Godin nylon strung Acousticlassic guitar, my SD loaded Pacifica 812W (proper guitar that one, seymour duncans, superb wilkinson and sperzel hardware - the cheap Pacificas are great, but the top line ones like this are superb guitars), and one of my MB cabs. These 3 basses will do eveything I need for now. Thanks for looking. Chris

i too have a usa l2500, and would agree with the above comment about not being like stingrays. yes, they have a bridge position humbucker which can be soloed in both seriesand parallel, but to my ears this is a sharper more honky tone than my sr5. the precision on steriods is a good desceiption of the neck pu, and i love the sound of both pups together. they range of tones is huge including a great passivve mode. the neck is a little wider than the sr5 with slightly wider string spacing. very comfortale and easy to play. in short, excellent, except the sr5 b string is better, but the sr5 b is one of the best out there on a 34" scale imho

[quote name='Muppet' post='127441' date='Jan 24 2008, 11:32 PM']Ah bollox, I've not got a manual and rather hoped they were for the input gain. Oh well, if it's not the usual suspects of cables, batteries or bass then back it should go. I never had any problems with mine such as you describe, but I was only using passive basses. Best of luck, it's really really annoying when you get something new only for it not to work as you'd hoped! Steve[/quote] yep, it sure is. Defo not cables, batteries or anything else. Bugger, will dig the jiffy bag out of the bin!

thanks steve. I thought the trim pots are for the threshold of the multiband compressin mode - this is what the manual says in any case. It happens in all 3 modes, and regardless of the compression I dial in....

thanks dood. Nick has been great actually - we had a bit of a delay on delivery to them also, and all has been good so I am sure we will sort it. Like I say, I think it just cannot be right - hope not, as I will have to find another compressor and I like this one (barring the "issue") Cheers C

Hi Just got my spanking new multicomp (EBS) pedal from the Bass Centre. However, I think I might unfortunately have a faulty one. Basically, on loud notes and finger pops I get a buzzing as if the input is overloading or something. I have set it to "active" mode, but even in this mode when I "dig in" or slap I get this buzzing distortion on the peaks. I am using a Stinrgray 5 and an GandL 2500. Admittedly these are fairly high output basses, but this has never been a problem with either bass with any other effects unit/amp/desk/rack unit etc. FYI, this is with basses on full volume and EQ set "flat". It happens in all 3 compression modes, irrespective of the knob setting, so I am pretty sure it cannot be right? I wonder anyone could suggest where I might be going wrong (I dont think I am, to be honest)? I am using it in line with the bass direct into the multicomp. Mains and battery - same on both If they all do this, then the unit is clearly "not for me", but I suspect that if they all do this then they would not sell many and it would not achieve the reviews it does, as it is basically unusable. So, anyone who uses one got any input for me. I have emailed Nick at the BC to get it sorted, so it is not a problem as it is new and under warranty, but I thought I would ask on here too. Cheers Chris

coolio I was talking to Mr G last week, and he was indicating to me that in comparison wiht the fodera/sadowsky etc basses, his are very affordable for what is basically a top top notch instrument. I would love one, and will be saving little by little. C