tauzero

What does it mean when a bass sounds like butter?

[quote name='drTStingray' timestamp='1434557441' post='2800776'] However the one I nowadays cringe at playing is Sweet Home Alabama with its Deep South attitude towards racism and support of violent put down of black protest - cringeworthy in my book, in a similar way to a couple of 70s British sit coms which only get shown as clips to demonstrate how society has changed since then - but Sweet Home Alabama goes down a storm presumably because no one takes the lyrics in. [/quote] I can't find anything like that in the lyrics. If anything, it's anti-racist, or at least anti-governor, the governor at the time being the racist George Wallace.

[quote name='Phil Starr' timestamp='1434353044' post='2798761'] Bad luck Modman, we've had the usual double bookings but never actually on the day. Pubs closing down and not telling anyone is really common too. [/quote] We had that a year ago, we found out when we stopped by to drop in posters. But the worst we've had was last Saturday. A very good friend of Mrs Zero suffers from Crohn's Disease, and one drunken evening in the pub the idea of a fund-raising gig came up. A local venue said they could host it, and provide PA and drumkit, and another three bands agreed to play. Then a couple of days before, Mrs Zero sent a message to the venue asking about dropping off the bass cabs on the Friday. This prompted the venue's manager to send a message to Mrs Zero's friend to say that due to electrical problems which had arisen a few weeks before, they weren't able to have bands in, and anyway she was moving to Birmingham and would be at Download on the Saturday. So two days before the gig, we had four bands and no venue. Fortunately, one of the other local venues was able to fit us in (ironically, it was a venue that said manager had been managing before the one that let us down, and she'd run that into the ground). We finished up having to supply PA and drumkit but that was a small price to pay. As it happened, the evening was very successful, with four good bands, and the pub almost running out of beer, so the landlady was delighted and would like us to do it again some time. And Mrs Zero was about to unfriend the one who'd let us down on Stalkbook, but I told her to keep her friended so when we find out where she's gone to manage next, we can tell the owners just what an incompetent and negligent manager she is.

I've just emailed myself to tell me to do it.

[quote name='discreet' timestamp='1434664839' post='2801750'] In fact, haven't I asked the very same question and got the very same answer before, or did I dream it? [/quote] Quite possibly, I'm a great prevaricator.

I have some dodgy blurry photos from somewhere in the early 80s. I'll scan them in some time.

I put one together from parts when Hayman went bust - there was also a fire at the Fender Soundhouse and loads of Hayman parts got sold off. Sadly I didn't manage to get all the bits for a twin-neck but I did get the bits for a 40/40. I think I made a mistake PXing it for a Precision.

Zoom B3 - £140 Keith McMillen 12-step - £180 Reasonable MIDI module - I'm sure I could get something new or second-hand for the best part of £400

Thanks all, I think I'll start with minor violence with pliers and work up from there.

[quote name='Cato' timestamp='1434300632' post='2798457'] The million dollar question - is the disappearance of said T shirt linked to the appearance of this thread on Basschat? [/quote] It could just be linked to the passage of time.

I went from hair halfway down my back to a number 2 for the remaining hair as the bald spot made itself properly known.

My Buzzard BO uses the 2-piece bridge/tailpiece. I didn't like the Rotosound nickels (I think) that were on it and put a set of Elites on. However, they didn't fit into the tailpiece very well, the E and especially the B taking a bit of wedging into place and not reassuring me as to how well they'll stay there. So has anyone else had this problem, and what strings have you found that will fit in happily?

Wasn't too keen on the chunky neck on the 5, which is why I sold mine. I'd have valued the 4s at £190 to £230, 5s twenty or thirty quid more. And if I'd got on better with the neck, I wouldn't have sold it.

[quote name='Kev' timestamp='1434147920' post='2797242'] I know, I think he will struggle to find someone wishing to give up a Warwick for a bloody Stingray! [/quote] Perhaps a straight swap for a Rockbass.

And personally, after a re-listen to "Wichita Lineman", I feel that it's a good song struggling to emerge from the dreadful cloying strings and syrupy voice. A possible diamond immersed in sludge.

[quote name='yorks5stringer' timestamp='1434153646' post='2797264'] You don't get out of it that easily and TBH, bit gutted you didn't remember I had already posted something similar on the 29th November last year. "Blatant Plagiarism" is the term I would use... [/quote] Had you used the word "twinned", I couldn't have failed to agree. I can only think that you are resentful of no-one pointing out that despite the nomenclative the relationship between yourself, the late Susannah York, and Thom Yorke, that none of you have ever gone further north than Northampton.

All basses (and guitars) except acoustics are fitted with Schaller or compatible straplocks so all straps are so equipped. 10-string is neckdivey and has its own strap - suede one to prevent neckdive, one of those slot-position ones so it's permanently set up for that bass, which only fits in one case. Buzzard has a sweet spot (dictated by the ergonomics) and has its own strap, which lives in its case (exclusive to the Buzzard). Sei fits in a guitar case and its strap lives in there. Other basses get to use the strap that's in the other case. My Variax guitar lives in a case with a strap in it. So I actually have a strap for every case. Oh, the one bass that isn't fitted with Schaller stuff is the Hohner B2AV, which has its own case, and a strap that lives in there specially for it.

[quote name='yorks5stringer' timestamp='1434147767' post='2797238'] Err.... "Posted 29 November 2014 - 01:22 PM Following the departure of David Byrne from Talking Heads, Alan Bennett has confirmed he will be taking them in a new direction. In a separate development Tina Weymouth will be collaborating with Jesse Winchester." [/quote] She's obviously moved on.

My Warwick JD Thumb. Although it's a 4 and so I don't play it these days, it's still a fantastic bass. So glad I traded a Precision (plus a lot of money) for it back in 1987.

John Deacon is actually a verger.

It has just been announced that Alan Lancaster and Jeff Berlin are to be twinned. Tina Weymouth and Glen Matlock are currently in talks.

[quote name='Sibob' timestamp='1433869052' post='2794724'] My OCD can't get past the bridge placement not being in the centre of the tone-block......or matching up with the width of the neck. [/quote] In the first photo it looks on the wonk but later in the album it looks better: Possibly a shadow?

[quote name='BILL POSTERS' timestamp='1433793045' post='2794061'] Dali and Picasso had jobs where they were paid to be painters, doesn't mean they shouldn't be recognised for being exceptionally good at it. [/quote] The analogy is more that they should be able to say what their favourite ten paintings are, regardless of whether they were doing them on a whim or had been commissioned. The same goes for composers such as Bach and Mozart, who were paid to compose - I don't see why the fact that they were paid to compose their works, either as commissions or as part of their employment, shouldn't mean they should be disqualified from saying what their favourites were. Although it would be difficult to get an opinion from them now.

On my Ashbory, which has rubber-band strings, I find that adopting a violinesque left hand position with the fingers pointing more along than across the unfretboard works better than the orthodox straight-across bass finger position.

[quote name='barneyg42' timestamp='1433830252' post='2794249'] Mavericks....Dance the night Away......dead easy to play, but again the constant repetition makes it a nightmare!! [/quote] I used to amuse myself by keeping going up until I ran out of fretboard, then going down. On a 5 string, that keeps you going for a while. Hotel California for me - not from the complexity of the bassline but because to make up for the fact we're missing a second guitar, keyboards, and whatever else the Eagles had available, I arpeggio root-5-octave legato throughout the three verse instrumental outro that we do. The whole song is that root-5-octave arpeggio, but playing it when the vocals are there, I'm relaxing my fretting hand to damp the strings at least once during every bar on a particular chord, whereas I have to just keep fretting when playing legato.