tauzero

"[font=Eras Demi ITC, sans-serif]some of the value is in the providence". He's hoping for divine intervention?[/font]

I've contacted Tecamp but thought I'd ask here as well, in case I don't get any help from them. When a lead is plugged into the input socket, if I move it at all I get a loud bang. This happens with assorted leads. The socket is a PCB mounting mono one with two break contacts. I bought what I thought was an exact replacement made by Cliff, but there is a crucial difference with the bits that push into the PCB. On the original socket, these are stepped, but on the replacement there is no step. Consequently the original one sits a few mm above the PCB while the replacement sits flush on the PCB and thus below the height of the hole for it on the front panel. There is a corresponding Cliff socket, the S2BNB PC Type A/S, but I'm buggered if I can find one. Does anyone know where I might be able to find such a beast?

Midlands Today just had a report from a certain industrial estate on the outskirts of Warwick, including a few minutes interview with Mark Stickley about the forthcoming budget. They're going back tomorrow so Mark might be on again...

[quote name='fatback' timestamp='1363536433' post='2013755'] The 'why do we need to perform live?' Q puzzled me for years until I heard the great Rabbath explain. He says the adrenalin slows down time, so you have forever to form each note, and that's a very special thing.[/quote] Don't forget the great universe of choices opening up before you with each note. I really should try and choose the right one a bit more often, given the amount of time I have to think about it.

I keep an eye out for very very cheap baritones with the vague idea of doing this. AIUI, the fretboard width on a U-Bass is greater than that of a normal baritone uke. I don't know what the tension on the strings used on a U-Bass is like but I would think it's similar to Ashbory strings, which aren't very high tension at all.

Do you have a multimeter that you could test the resistance with? Measure tip to ring with pedal all the way up and all the way down. On mine (the current FP-02), it's 100 ohms with pedal all the way down (full throttle) and 86k with pedal all the way up (silence).

I'm looking to replace the QTX 15" active speakers we currently use with something a bit better quality. I want something that'll keep up with a loud drummer, guitarist who will occasionally play loud when we tell him to, and a loud bassist. Basically something that will put out somewhere round 130dB, and probably 12" rather than 15" speakers. And a weight limit of about 15kg per speaker. I want to limit spending to around £800 - considerably less would be nice. So, although I'm sure a pair of QSC K12s would be lovely, we can't afford them, unless someone wants to sell me a pair ridiculously cheap. Any recommendations?

[quote name='Dingus' timestamp='1363093042' post='2008239'] What is remarkable about the Fender bass is that it is still the best tool for the job of playing the bass guitar in most modern popular music situations , even 60 or so years after its' initial conception . That's why so many people still use them . [/quote] I'm not at all comvinced about "the best tool". I think "adequate" would be more accurate there. As for why so many people still use them, that just shows how blinkered so many bassists are. They obviously can't tell entertainment from art.

Although these are eminently portable their tone and sustain leaves a lot to be desired.

[quote name='Grand Wazoo' timestamp='1363034162' post='2007445'] Oh and anyway I've got an even uglier piece of maple on this one, this was so bad it was burnt ( roasted ) came out of Oxfam lol [/quote] Good grief, look what that's done to the frets.

You've done a brilliant job of cleaning it up.

I'm pretty sure it's the visual cue that a headstock gives, as others have said. I had a B2 about 25 years ago, along with a P, and initially had the same problem but after a little while got used to it. Although I sold that 25 years ago and didn't have another headless until a couple of years ago, it took no time to reacclimatise. So just persevere, you'll get there.

[quote name='Stan_da_man' timestamp='1362682516' post='2003366'] My bass has nothing on the headstock. I get a lot more questions asked about it over the Fender's everyone else are playing. [/quote] As an even simpler solution, my bass has no headstock.

I started my musical career playing rhythm guitar for a Glenn Miller tribute band at school. Since then it's been mainly rock bands of varying degrees of heaviness (generally at about the aluminium level, some as far as iron), a soul band, a folk metal band, and it's culminated in the current set of bands: Covers band 1 - rock, tending towards the blues side, mostly pre-80s, mainly covers but some originals Covers band 2 - rock, with slight indie slantings, even spread from 60s to current Club band - mainly 60s, 70s and 80s, some more recent Ceilidh band - mainly 1600s, 1700s, and 1800s, some more recent Acoustic duo (me on guitar) - all sorts of stuff

The news did stir me into buying a copy of "Woodstock". 4-DVD ultimate collector's edition available through Amazon for £7, so that's less than a quid a minute for TYA's rendition of "I'm Going Home" and all the other stuff on there as a bonus. Tell a lie, it was £7 yesterday and it's £10-56 today so it must have suddenly become a popular item. Still less than a quid a minute...

[quote name='xilddx' timestamp='1362657351' post='2002798'] Anyway, there are plenty on the list that I doubt many people have heard .. [/quote] I've only knowingly heard five of them.

Good for playing Majors with then.

Is that every wireless system, or just one? And have you tried the wireless system with any other passive basses? Just thinking that if there's a coupling capacitor on the input of the wireless transmitter and it's gone short-circuit, a passive bass's volume and tone control won't be isolated whereas an active bass will probably have a coupling capacitor on the output, hence preventing any varying DC bias being applied.

[quote name='TimR' timestamp='1362233543' post='1997323'] The song will sound different just by virtue of other people playing it and different instrumentation. You don't need to change much [/quote] There are some songs that I dislike the production of in the original and prefer the sound when we do it - Mr Brightside and the microphone-down-a-drainpipe sound or Kasabian's Underdog with the far-too-excessively-distorted guitar (ditto Foo Fighters). I must admit that it depresses me a little (with a different band) when social club audiences get up and dance to "Red Red f***ing Whine" because there's no chance of it disappearing from the setlist. The new singer has brought in a couple of rubbish new songs. One is Moves Like Jagger - ironically band A plays a decent Maroon 5 song, This Love. The other is Jessie J's Price tag - I have seen her lauded for her great talent but I have yet to see any evidence of it. But there are a couple of Lady Gaga songs that are rather good when we do them (ie. without the Eurovision thud-thud-thud relentless bass drum).

And what's wrong with waistcoats?

[quote name='discreet' timestamp='1362228683' post='1997233']I've never heard of her. Is she... Lithuanian? [/quote] I've just remembered that Mrs Zero told me off for making her giggle while singing at our most recent gig, when I introduced it as Mustang Sarnie.

Anything by Free, Cream, Bad Company, any of the older 12-bars (Johnny B Goode, Route 66, etc), AC/DC, Led Zep, most Who, most Stones, Black Sabbath, Bryan Adams, Kinks, RHCP, Stereophonics, Buzzcocks, Kings of Leon, Foo Fighters, Police, Killers, Coldplay, The Cult, U2, if you feel ambitious Lynyrd Skynyrd, Dire Straits, Pink Floyd, and of course Mustang Sally. All taken from the set lists of the two bands I'm in with guitar, bass, drums, and vocals.

And with the sensible addition of a second pickup, there is a much wider range of tones available. Everybody should do it.

[quote name='achknalligewelt' timestamp='1361205793' post='1982751'] Cheers. I find him to be melodic, rhythmic and just endlessly listenable as both an indidivual player and as part of the overall Blur sound. The same goes for Mat Osman (Suede), Mickey Quinn (Supergrass), Colin Greenwood (Radiohead) and Bobby Kildea (Belle and Sebastian). Some of the bassists on the indie scene are superb, but seem to go utterly under the radar on BC. I got called a troll for saying that I didn't like John Entwistle, which seemed a tad harsh. [/quote] Seems a little odd to me that you don't like Entwistle when I'd have said that that Tracy Jacks bassline is rather Entwistley.

[quote name='seashell' timestamp='1360849517' post='1977329'] But then again, I have acted in plays and musicals with married couples before and no problem. Added to which I believe there are some BC members who are in bands with their other halves. For instance tauzero I think? So maybe they will come along to this thread and advise us! [/quote] Yes, of the five bands I'm in, Mrs Zero is in three - one of them being a duo. We're comfortable with being able to criticise each other's playing/singing just as much as criticising/being criticised by other band members. In one of the bands that Mrs Zero isn't in, the drummer and keyboard player are husband and wife, and that hasn't caused any issues. In the ceilidh band, we have two married couples - our melodeon player can be a pain at times and her husband is something of a lightning conductor when that happens as he's normally first in the firing line.