grandad

I was impressed with: https://www.fane-international.com/downloads/FANE-SOVEREIGN-8225-DS141117.pdf

That's how I play or with a pick depending on how much attack I want. Tried finger-plucking but it just didn't work for me.

Found this: http://www.bass-pedals.com/tag/compressor/

Not had the benefit of a musical education but am trying to learn and expand my musical theory by reading and listening and practicing and keeping company of others who have. I've watched Mr Goodall's programmes and I'm sure read a book of his. I just accepted him as expert. I'm not sure I'm following the disagreements in this thread. https://en.wikipedia.org/wiki/Musique_concrète After reading the above, just to refresh my memory, I soon associated The Beatles's and George Martin's musical adventures in their studio years with what had occurred previously in France, and probably elsewhere. To me, in isolation, much experimental music does seem dissonant, or strange in structure. But give it a context, say a film soundtrack, and it hits you right between the eyes and just works. The context of The Beatles music was the 60's and as we listen or play it now the context is different. So much of it has stood the test of time.

I've done a similar thing many a few times. I buy a bass at a keen price. I clean it up, oil the fingerboard, tighten all the screws, set it up with new strings, and noodle it for awhile, then eventually sell it on at a modest loss. It's easy.

Maybe it's as a bassist one is more aware of the spaces between the notes, often we're counting that gap. It's crucial on the slower numbers. Recently been practicing Samba Par Ti with sax, trumpet and rhythm guitar. Just getting those pauses bang on is essential. Similar thing with Man of the World with another band.

The Shadows, because I'm that old! https://en.wikipedia.org/wiki/The_Shadows

Someone has mentioned that The Beatles as a whole were greater than the sum of the parts and I believe that to be true. Any alternative would have been something different. I think Ringo's drumming was spot on, he didn't do too much or too little. I take much the same approach to my bass playing and try and put in what the tune needs. I've accompanied so-called virtuosos who play a dozen notes where 3 or 4 would do better and it ends up a cacophony. Developing sensitivity to the tune is a must. Sometimes less is more. A certain lead-guitarist I often accompany seems to want to play everybody else's part and doesn't understand that sometimes he needs to rest part way through a number and let the rhythm section just bring in the next part. It's team effort, and that's often forgotten with the ego-driven 'look at me' individual. The Beatles got it right at the right time, but maybe you just had to be there!

I am I think familiar with this particular upgrade and it is a sealed cab. I only checked the manufacturer's recommendations and EBS = FS/Qes. The marked improvement I believe is due to the higher figures for sensitivity and Xmax. To attempt an upgrade for a vented enclosure is a different kettle of fish and I have sought and would always seek advice on such.

+1

Played 50's, 60's & 70's pop for several years in a covers band. As this was the music of my teen's I enjoyed much of it. Still do at the music club but it does tend to get a bit tedious playing 'Shakin' All Over' for the zillionth time. Away from the music club I thank my lucky stars to also play in a Jazz quartet since 2 years and am learning so much than I ever did the previous covers band stint. And even though we're all retired and getting on a bit, the music ranges from Jazz standards to anything we fancy we can make a good interpretation of. Recent additions are instrumental versions, (sax, trumpet, rhythm guitar & bass), of THE LOOK OF LOVE and SAMBA PAR TI. I just enjoy nailing great tunes and it's the slow numbers that take a lot of concentration. With guest players and singers now and again the repertoire isn't really limited. The music I enjoy listening to and would love to play in a band situation would be sort of JJ Cale centred. I don't know how to catagorise it - "Soft Country Rock" maybe?

The only compression I've used have been on combo's, Roland and TCE and then only at about 9 o'clock. Both have been subtle in thickening up the sound. Not killing the dynamics as stated above is the trick and the spectracomp is the one tone-print I must have on my TCE 208.

My D-Bass 115, light-weight & castors, lovely tone, reliable Roland quality, Why did I move it on - to much kit at the time, space, because the next bit of kit was going to cure my GAS to-be-sure!

To much to list but I too should have kept the Zoom, a B3, and played around with it a bit more.

I'm a fan of Yamaha PA gear in as much as I've owned and used much of their current EMX range and Stagepas, all analogue. I think there can be a tendency towards over-kill with some suggestions. My big rig is an EMX5016 into EV SX300's and a pair of DBR10's as monitors. A Roland KC150 is used as fold-back for electronic drums as it has a dedicated monitor channel. No sub's. Never had to push this rig hard and only need the power (500W + 500W) when outdoors. Now bear in mind that the 500W per channel is peak, then at 0dB on the led meter it's 6dB down so halve it and halve it again that's 125Wrms per channel. My little rig is the Stagepas 600i which has 10" speakers and I do love this rig, easy carry, set-up and use. The 10" sound good for vocals, clear and bright. Lately, as in getting older, I've stopped gigging with the rock band and both set-ups have not seen much use. When I am asked to provide the PA for some do or other I usually use the Stagepas and the Roland KC150 as bass reinforcement, which is plenty even for disco stuff. Both the EMX5016 and the Stagepas have an auto' feedback-kill one button press facility that works. I have positioned the PA speakers behind and in-line with the performers/mic's and not suffered any howling. This meant that no monitors were needed as the band can hear the FOH. So even less gear required to lift and shift. And fewer leads strung across the stage. All this in the quest to lighten my load and not feel knackered before you start playing. A much easier, quicker set-up and take down and transport. But it's horses for courses and I spent a shed-load of cash before arriving at my preferred rig over several years on the pub and club circuit. Folk will recommend the gear that they have had success with, as I have done, or are familiar with and comfortable with that suits their requirements. And there is some great gear out there nowadays. So much good advice on this forum but think hard about your requirements and do your research, it'll save you a lot of cash in the long-run if you can get it right first time. Good luck.

I also watch it on iplayer and skip through until something appeals. I think the show does it's job, i.e. it presents a variety of current stuff and leaves it up to you to like or not. It does showcase artistes that probably wouldn't come to my attention elsewhere without time and effort on my part. And having just looked up: [url="https://en.wikipedia.org/wiki/World_music"]https://en.wikipedia...iki/World_music[/url] the time and effort in me are lacking. The point made about Zappa is odd as his work is so diverse. He certainly provided contrast at the time, (60's - 70's), and humour. And the point about has-been-old-timers; well I like to see them pop up now and again and find out what they're up to nowadays. Poor old Jools got a bit of stick here: [url="https://www.theguardian.com/tv-and-radio/2017/apr/08/later-with-jools-holland-cockroach-schedules"]https://www.theguard...roach-schedules[/url]

[quote name='dannybuoy' timestamp='1509387059' post='3398542'] How about this? [url="https://www.reverendguitars.com/basses/mike-watt-wattplower"]https://www.reverend...watt-wattplower[/url] [/quote] https://www.guitar.co.uk/reverend-mike-watt-signature-wattplower-satin-emerald-green-cosmetic-damage [u]Rather pricey[/u]

[url="http://basschat.co.uk/topic/314214-gretsch-junior-jet-11-short-scale-bass/page__fromsearch__1"]http://basschat.co.u...__fromsearch__1[/url] Have a look at this.

https://www.ebay.co.uk/itm/Fender-Mustang-Bass/292305310061?ssPageName=STRK%3AMEBIDX%3AIT&_trksid=p2060353.m1438.l2649 Just spotted this.

My preference is medium and short scale. I would try a Mustang as well as the ones you've mentioned. Those I own or have tried certainly differ in feel and tone. I haven't tried the Chowny but by all acounts it's a cracking bass. Be interested to know how you get on.

I think transparency is required from organisers when asking folk to provide services for free. Things should be done in an open and honest way. I'm more skeptical nowadays regarding charities and try to choose who I support. Plenty of evidence in the news and on the web about malpractice and sky high salaries/perks for charity board members and managers. I've done a fair few free small/local shows but I've known where the money went and usually knew the organisers personally. As has been said above, it's up to individual to choose but my advice would be to ask the right questions beforehand.

Received the Samson S-Phone headphone amp today. Great as-new condition, thank you.