neepheid

Damned if you do, damned if you don't.

[quote name='Lowender' timestamp='1381276226' post='2236970']
The former example is labor, a set up is not. The later is example is what I challenge. A "pro" isn't going to do it any better than any other proper set up. You don't need a professional carpenter to put a nail in the wall. : )
[/quote]

Some people drive nails through water pipes or electrical cables. Some people miss the stud they thought they had located (or more likely didn't bother locating in the first place) and make a mess of their plasterboard. These people need a professional joiner to put a nail in their walls, yes. Not everyone's handy like you.

Merged: http://basschat.co.uk/topic/211406-fender-modern-player-dimension-bass/page__view__findpost__p__2236478

I just taught myself to set up basses (and by extension, guitars). I perceived it as being less hassle than finding someone to do it for me.

This is like trying to define the area of a circle in a world where the value of pi is not a constant.

[quote name='Dingus' timestamp='1381165809' post='2235273']
Surely Scotland's not [i]that[/i] bad ?
[/quote]

Not Scotland - Aberdeen - people are allowed to speak ill of their hometown in a jokey way, no?

Still no sign of them in the grey fortress of doom

Audacity (on a computer, not iPad) ought to do a decent job for you - just checked it now.

Load up mp3/whatever, look in Effect menu - Change Pitch

[quote name='Lowender' timestamp='1381066059' post='2233898']
You never hear anyone talk about the "Fodera" sound.
[/quote]

I think that's because not many people have heard it? They're so expensive that there can't be that many out there. I had a quick shot of a Ritter once and I can't remember how it sounded because I was scared to even breathe on it. Pretty sure it sounded like a bass though

I suppose people will always try to relate unmeasurable things like timbre back to familiar things. Reminds me of the Volkswagen advert a while back where the car salesman shuts the car door with a thunk and says "Just like a Golf". As far as I'm concerned (or care), any reasonably well made car door these days will close with a satisfying thunk. The doors on my first Mk2 Fiesta used to clang! Similarly, all a bass has to do is sound "good" - and that's my personal definition of "good" which I doubt even I can explain in enough detail to be meaningful or useful.

Rosewood is harder/denser than maple. If it's density/hardness that's causing brightness then ebony boards must absolutely zing!

There are factors at work here several orders of magnitude more influential than what kind of wood the fingerboard is. I personally don't worry about it and treat it purely as an aesthetic choice.

The BC collective would need much more info to say with any certainty I reckon. Close ups of headstock, neck, body, bridge, pickups, the body binding and all that jazz.

I put a lipstick strat pickup (the hottest one I could find) in a Squier Bronco once. Sounded pretty good to me, and looked fantastic.

[quote name='jamesbass116' timestamp='1380918918' post='2232527']
Sorry I think there's been a misunderstanding! I get where you're coming from completely. I love playing in big full bands! The first bands I ever played in were 14 piece jazz/soul bands so I know how good it sounds.
In an ideal world where my band is playing major festivals and arenas with a decent budget then we'll bring in the best aux musicians possible, but any other time it just isn't practical, possible or worth the risk.
Personally, I'm a stickler for perfection and unless I am convinced there are guys available who can play the parts, that we've had recorded by other pro musicians, absolutely perfectly, then I'll always opt for using the pre recorded sequences. The pre-recorded stuff is still all live instruments anyway.
If we've got an industry showcase coming up and we can't get adequate players on the budget we have... we're not just going to wrangle up our mates to come and jam along. It needs to be clean cut/low risk which is where the sequences come in.

I do honestly respect your opinion, don't get me wrong, so I'm honestly sorry if I came across as overbearing and intolerant as you said. Must've been a misunderstanding due to me being tired from all these damned sequenced gigs I've been doing...

[i](Also you're right. There is nothing like getting whacked on the head by a Trombone slide... Hurts like a b**ch!)[/i]
[/quote]

Hey, no worries, it's already forgotten. Sorry if I was a bit over sensitive.

If everyone could stop telling me that my personal preferences are wrong, I'd be most grateful.

[quote name='JellyKnees' timestamp='1380884399' post='2231870']
That's a lovely idea in theory and in an ideal world I'd agree with you, but it's unrealistic and totally impractical for most amateur/semi-pro bands.

Out of 20 odd songs we have one with some brass parts, about 3 with some strings and maybe another 5 with some synths, so we use backing for those songs to supplement our piano, drums, guitar and keys lineup. It sounds fine and works well.
[/quote]

I'm glad that you feel it's working out for you and you should definitely keep on doing what you feel is best, but seeing your band live would irritate me because I would be hearing sounds that I cannot attribute to someone performing an action of some sort other than pressing a play button. Sorry about that. That's all I've been saying all along.

I know you said "most" but for what it's worth (and at the risk of seeming argumentative), I don't find being in an amateur band with keys, sax and trombone unrealistic or impractical in the slightest.

[quote name='jamesbass116' timestamp='1380872737' post='2231659']
No offence to the other guys (everyone's allowed their opinions) but [b]I really don't think they "get" the effort that has to go into playing live and adding lots of extra instruments[/b]. Especially for a mainstream band where everything has to be clean and shiny. People need to understand that the only time aux instruments are really used anyway is for the bigger gigs because it's rarely practical for them to be used all the time in the smaller venues around London.

I know I'd rather see 4 guys enjoying themselves and still playing their songs completely live apart from a few keys/horn parts than god knows how many people crammed onto stages just for it to be "authentic". That's such a prudish and snobby way of looking at live music. Live music is constantly developing and people need to come to terms with that.
[/quote]

I get it. I'm in a band with keys, sax and trombone. It does take extra work, but I don't find it difficult because we're all competent musicians and I find the results most satisfying. As far as I'm concerned, no backing track can make up for the sound in particular but also sight of someone playing the hell out of a saxophone, or nearly decapitating someone with a trombone slide

It's got nothing to do with snobbery. For me, live music is a visual show as well as an aural one. I like watching people play instruments, observing the mechanics of playing, gear spotting and the like. I don't go to a gig expecting note perfect renditions of pre-recorded music. I expressed a preference for seeing people doing something to create the sounds I am hearing when I go see a live band. I don't understand what your problem is with that, it's an opinion and I do not think any less of anyone who has a different opinion to me. I'm not saying you're wrong, so I would appreciate it if you could afford me the same courtesy. You're coming across to me as rather overbearing and intolerant and I can't say that I care for it.

As a punter (and clearly I'm not supposed to notice these things) I prefer people not to use backing tracks. This informs my opinion as a player too. If you want strings, get some strings players in. If you want a horn section, go get one. Want keys? You know what to do. Much better sounding and visually engaging than a backing track.

I'm not looking down my nose at anyone who wants to use them, but it's not how I like to see business done.

Do know anyone in the States who would be willing to act as go between? I've done that before.

[quote name='Ou7shined' timestamp='1380573753' post='2227423']
I convey emotion and the physical characteristics of the music as part of my performance in any way my body feels fit.
[/quote]

That's a real posh way of saying "I loup aboot like a gype"

"Quick verdict needed"

I have no advice to offer, other than the only Spector I've ever had a go of (a Spectorcore fretless) was very nice indeed.

Guilty.

[quote name='4 Strings' timestamp='1380544258' post='2226752']
Well, not mental, but they get drawn into place by tightening the screw.
[/quote]

Understood, but my point remains that you have to physically put the T-nut inside the cab somehow as opposed to the hollow wall fixing which is all done from outside.

Nothing new to report. I've been too lazy to send the pickup for cloning (must get around to that) and I have no further news at this time regarding the refinish. When I have some I shall excitedly let you know

[quote name='Ghost_Bass' timestamp='1380537799' post='2226637']
This looks like another good solution. To stop having the screw coming out inside the cab simply use the original one to tight the anchor and then replace it for a smaller one

EDIT: To be fair, in the end this would have the same result of apllying a T-nut.
[/quote]

Oh, missed that about T-nuts. The only difference I can think of is that the entire installation can be done from outside the cab with hollow wall anchors, no need to get inside - surely you'd have to press/drive the T-nut into the inside face of the base of the cab, or am I being mental?