neepheid

[quote name='Skol303' timestamp='1409855730' post='2544055'] Audacity is a great piece of freeware (I use it frequently for cleaning up audio) but it's a little 'clumsy' for what you're trying to achieve. Have a look at Reaper, which is available for free on an unlimited trial basis or commercially for around £50. Bucketloads of tutorials for it on YouTube: [url="http://www.reaper.fm"]http://www.reaper.fm[/url] And lots of Reaper users lurking around in the Recording forum on Basschat [/quote] I find Reaper [i]et al[/i] far too overwhelming and busy for what the OP is trying to achieve. Audacity makes perfect sense to me when I try to do such things (tack some of my bass onto a pre-existing recording then mix down). A DAW is crazy complicated looking thing for such a simple task - it might as well be the flight deck of an aeroplane to me and I'm not stupid or some kind of technophobe - I work in IT and I've been using computers since I was 8. But I just look at a DAW and go WTF? I have tried a few (Reaper, Ardour are the two I recall) and it's been the same reaction every time. Each to their own. When I hit the wall and can't do something in Audacity, I'll revisit DAWs and maybe make a better go of it because I have to. But right now, I don't have to, and I really don't want to

This is the manual you want, documents the GP7SM preamp employed in the BLX 80: http://britishaudioservice.com/inst/SM.pdf

[quote name='Jus Lukin' timestamp='1409736169' post='2542723'] I read that it was (pre-eastern copies) because the shape was too similar to a Fender at the time. Gibson were made to cease and desist by Fender for making something too similar to their designs. Gibson's response was to 'reverse' the body, taking it away from the offset-body-with-top-horn look, and making the classic shape we know and love. It seems laughable now, as the majority of the bass and guitar market is indistinguishable from Fender, even for those in the know, let alone the average passer by! Still, if correct, that is why the classic look is the 'reverse' body, and the other way round, like the original design, is 'non-reverse', which to today's eyes looks absolutely nothing like a Fender! [/quote] I am maybe reading you wrong, but it seems to me that you have "reversed" things (ba-doom tish) - the original design was the "reverse" (1963-65) with the bigger bottom horn, neck through construction. The non-reverse came after (1966-69) with the more traditional bigger top horn, set neck. Then the "reverse" design came back with the Bicentennial in 1976-79. The "reverse" Thunderbird came back officially for good in 1987. The non-reverse made a limited run reappearance in 2012, still a few Pelham Blue ones left at Thomann for a very reasonable price

[quote name='KK Jale' timestamp='1409708832' post='2542545'] They didn't call the MK 1 Thunderbird/Firebird "reverse" at the time of course. But people do now, because it's pretty much a flipped-over Fender Jazzmaster, which came out four years earlier. But the OP is basically right, the whole "reverse" terminology originates in geeky early '80s vintage dealer hindsightism that crumbles, biscuit-like, under the mildest scrutiny. [/quote] "People do now" - including Gibson themselves. I won't debate the origins of the terminology with you because I don't know any better than what you've said, but it is terminology which Gibson have officially embraced. Product officially called "Thunderbird Non-Reverse Bass" - [url="http://www2.gibson.com/Products/Electric-Guitars/Bass/Gibson-USA/Thunderbird-Non-Reverse-Bass.aspx"]http://www2.gibson.c...verse-Bass.aspx[/url] There's a nod to reverseness in the official blurb for the Gibson Thunderbird IV - "The Thunderbird’s unique “reversed” zig-zag body design" You can call it revisionary if you like, but it's coming from the mouth of the horse which makes the damn things, even if the horse didn't think of it first and that in itself is official enough for me. EDIT: Debate on - I found something. Gibson been using the term "reverse" in official blurb at least as early as 1976 with the introduction of the "Bicentennial" Thunderbird (complete with misprinted scale length - ha, just noticed that) - catalogue scan courtesy of flyguitars.com

[quote name='gelfin' timestamp='1409695260' post='2542447'] If it started with a Thunderbird with a reverse body, how do we know it was reverse? [/quote] Because it was/is the wrong way round - the bottom horn extending more than the top one (not that it really had/has one) in direct contrast with all its contemporaries at the time?

[quote name='stingrayPete1977' timestamp='1409639448' post='2541668'] Sorry I missed this yesterday, every Rick I have played was terrible, every Gibson I have tried had neck dive so these are my findings, if that upsets people that's just how it is, do I cry in my corn flakes at the mention of weak G strings, active basses sucking, over priced mass produced ebmm basses? Nope. [/quote] Well, you've qualified it now to your own personal experience and the generalisation was all I really took exception to. Sorry for being short yesterday - I wasn't having the best of days. FWIW, EBMM products seem fine to me, I keep having little wiffs of GAS when I see a Big Al... I really don't think EBMM get much of a rough ride around here though - there's this muttering about weak G strings (which I'm pretty sure if it does exist happens in a tiny number of cases and most of the time could be chased out through setup or choice of strings). If anything, the worst negative thing that sticks out in my mind mentioned here about EBMM is their rabid official forum (which I've never visited, admittedly) where apparently you'll get shot down in flames by a horde of fanbois if you dare to say anything negative about the company's products? I can't really answer the OP's questions - I lack the experience of P and J basses to give any solid guidance and after getting in a spat about generalisations it would be rather hypocritical of me to wheel some out right now What I will say is try both, play whatever you play and see which you prefer the sound and feel of, after all you're the one that's going to be playing the bass. Or just buy one of each

[quote name='Evil Undead' timestamp='1409583203' post='2541141'] ^ oh come on! [/quote] Oh come on, [i]what[/i]? I've read it scores of times and I'm getting pretty fed up of it. Gibson neck dive this, spontaneous headstock ejection that, all Gibson basses are crap etc, ad nauseum. Har-de-har-har - I'm paraphrasing while splitting my sides here.

[quote name='stingrayPete1977' timestamp='1409512775' post='2540401'] I think this is it,if we try and venture too far from home. I look for mm tones in a jazz, a J guy cant get the mm smooth enough, the p guy misses the growl if he trys a J and the ricky fans miss the neck dive in anything else other than maybe a Gibson [/quote] Some of you just can't resist a sly dig in the ribs, eh?

[quote name='CamdenRob' timestamp='1409301471' post='2538395'] You can't do that! That's not in the BC spirit at all.... You have to chose a brand of bass (preferably one you've never played) and declare at every opportunity that it's so much better than everything else if you don't own one you might as well give up playing... [/quote] Ha, I played a Fender Power Jazz Special at the weekend. It was a nice bass, it wasn't corrosive to the touch or anything Would play one again. I am pretty omnivorous when it comes to basses. Just don't care for too thin necks. A bass is either good or it isn't, I get to decide for myself and it doesn't matter what anyone else thinks. Pick up the bass, play it. Do YOU like it? That's the only question which requires an answer and I've doggedly stuck to that philosophy. God knows none of my basses will ever be flavour of the month around here

[quote name='JamesBass' timestamp='1409247340' post='2537970'] You cannot go wrong with a Precision bass. [/quote] Maybe not, but you can go more right, depending upon your tastes

I would also like to point out that I've had zero success recording loud stuff on any Android phone I've owned to date (HTC Hero, HTC Desire S, Motorola RAZR i) - clips all to hell and back again, no manual mic gain override, just bloody useless. iPhones seem to do pretty good though. Your phone might be different, but that's my experience.

[quote name='BILL POSTERS' timestamp='1408958106' post='2534818'] Just imagine you were a barman and one of the pubs punters offered to do your job for free, or pay the pub gaffer for the privilege. The gaffer would then either expect you to do the same, or not use you at all. [/quote] I'm guessing that there are a lot more recreational musicians than there are recreational bar staff

[quote name='Chienmortbb' timestamp='1408779601' post='2533353'] In my experience it is the same in the UK Bill. [/quote] You haven't been to Aberdeen then. Granted there's a definite split between cover/tribute bands and original bands - cover bands will nearly always have their own PA so they can play in any pub they like, especially ones which are not specifically music pubs whereas the venues which tend to put on original music have PA, sound engineers, house backline - The Moorings, Cafe Drummond, The Tunnels, and some have PA and sound guys but no house kit - Slains Castle, The Lemon Tree and Cellar 35 spring to mind. I suspect that for the size of the place, we're pretty spoiled up here.

[quote name='JTUK' timestamp='1408703432' post='2532670'] Yes for Subs... but not a fan of Sterlings, full stop. I think they cheapen the marque... but then I tend to think EB did that anyway, to a degree. I'd say the same about Warwicks etc etc etc as well, tho, tbf. [/quote] You are entitled to your opinion, but I respectfully disagree with you. "Cheapen the marque", really? That sounds kinda snobbish to me. Providing a [b]decent quality (appropriate for the price bracket)[/b] stepping stone to the USA instruments is not only sound business, it breaks down barriers of exclusivity that you seem to think are better left up. I know this is an EBMM thread, but the related story is that there's no way that I would have gone down a G&L voyage of discovery without the Tribute models, I can tell you that with certainty. I don't find it "cheapens the marque" at all - it's clearly a forward thinking organisation which listens to its customers and that is nothing but positive to me. What about other benefits that having a less expensive, imported range give? The Epiphone Jack Casady is a prime example - Gibson had no appetite to reissue the Les Paul Signature bass (and I think they're right - niche instrument even when it was made), but having an Epiphone wing of the organisation to take a punt on stuff like this because the monetary risk is less means that it becomes reality. I think the only thing EBMM is guilty of is underutilisation of this opportunity - choice of models is rather limited (especially now where it seems they might have binned the SB14 (Sterling) - the page is down and it's not in the main menu?). I would certainly have a sniff around a SBMM Big Al for instance, whereas the USA one is a little too expensive for my tastes.

[quote name='uncle psychosis' timestamp='1408638235' post='2532128'] 'cor, thats a bit special innit Matt? [/quote] It's quite a beast - really long like my RD Artist. Probably the most aggressive sounding of all the TB+ wearing basses I've encountered. The finish is pretty unusual - you can see the grain of the mahogany, but the clear coat is smooth, it's like a 3D picture. Have a picture of me playing it at The Moorings in Aberdeen (thanks to Biz for the photo)

[quote name='Bassmonkey' timestamp='1408625327' post='2531928'] Perhaps would benefit from a [i]regret[/i] but that's for another day. [/quote] No regrets, surely? Nice bass, I've been told these sound lovely.

[quote name='eude' timestamp='1408611780' post='2531716'] Where abouts? I can't find them, any chance of a link? [/quote] No longer available: http://www.ebay.co.uk/itm/351128657763 There was a link put up in the eBay forum on the 9th - http://basschat.co.uk/topic/242809-redsub-bt5110s-are-back/ I seem to recall there were 10 allegedly available when I looked but whether or not that was a mistake or just an old listing they forgot to take down I don't know. I like mine so much, I wish I had bought a spare head, just in case. I will not be happy if the magic smoke ever gets let out.

I've posted this up before, but much like a kilt, a gold top Jack Casady can make ANYONE look good

FWIW I have no axe to grind, never really had much play time with EBMM products. Their USA stuff is too expensive (new) for me to even think of trying one out in a shop because I would be wasting their time. I occasionally look at the Big Al and go "hmmmm, interesting" but I can't see it happening any time soon (unless they release a Sterling variant - ooh!). I also am weird, because I much prefer the look of the SR5 (non classic) - I am not a big fan of chrome control plates - random shiny shape on my bass? - no thank you. Saw someone play a Stingray at the weekend and it sounded horrible to me, all trebly, no substance to the sound - but that's probably due to interesting EQ settings on the guy's bass rather than the amp or the venue's PA - because I went on after with a different bass altogether and destroyed the place. An exaggeration, but a couple of people I was speaking to afterwards commented on the difference. Whenever people comment on anything to do with the bass, it must have been significant. I'm sure I've heard Stingrays sound great, so I know it's not the bass itself, but it's not a great advert for the brand having them sound weedy in public.

Looks like soapbar time to me...

Another Jack Casady player here, I did have a Fender Starcaster but I had to sell it recently. Also had a DeArmond Starfire and an Italia Maranello Z back in the day. Keep your flats though, the Casady sounds great with rounds and I have no intention of changing.

All but one of the bands I've been I have found through actual personal contacts. In only one case (FaR) I took a speculative punt on an online request for a bass player, got the gig and I'm still in the band nearly 2 years later. It can happen, but it's probably more good luck than anything else.

I guess it started with singing and playing recorder at primary school. Then all the boys gradually quit the recorder group, so I quit also (if I knew then what I know now and all that). Then my voice broke so all that singing like a girl stuff came to an end. Years later, I got a guitar, an Epiphone Special II (Les Paul shaped thing), but I didn't really get into it - didn't get good enough, quick enough for my liking so I just pottered about without really getting anywhere. Then out of the blue, I was in a music shop some time in 2003 and saw a cherry red Epiphone EB-3 and thought to myself how bonnie it was. Dashed home - learned how to play The Stranglers "Peaches" on the bottom four strings of my guitar then headed back to the shop, tried it, smiled at how much more sense it made on bass, bought it and that was that. Still pottered about for a few years until my now wife basically dared me on stage. Had my first proper gig in October 2008, weeks before our wedding! Joined my first proper band in 2009 and it just grew from there.

D'oh I completely forgot! I've seen the Jetsonics twice now (sorry Mr. Low End Bee).

[quote name='JTUK' timestamp='1408355775' post='2529209'] FB is a short cut to actually doing the rounds and getting your name about.... but now, with the demise of so many venues it is difficult to know where the music scene is in any one town these days so you can see why FB is useful. Thats is why we stick to the 2 most popular pubs in any town that will have their own 'regulars' so we can add 20 or so to their 20-30 or so and you'll have a resonable night and the place makes its money. Beer in music pubs is £3.50 upwards a pint round here and there are so many other alternatives that it is hard to get people out. One pub does 3 nights..and probably only pays bands on two, so he is delighted if all 3 are successful..but you will probably find one of those days is a turnover day for the beer and is subsidised by the other 2, hopefully. I am of the opinion that bands that rely a LOT on FB tend to get their mates along at the start and play to packed pubs but these thin out pretty soon if you don't pick up more people ... as people can't and don't wnat to turn up everytime. [/quote] I'd rather they didn't click on the "Going" button in the first place, but I'm probably being far too old school about it all.