Linus27

[quote name='Lozz196' timestamp='1295122154' post='1090821'] My take on these two would be to equate them to drinks: Jazz = lager & lime - cuts through nicely Precision = Guinness - rich and full bodied [/quote] Oh this is great, especially as I drink lots of Guinness and play a Precision. So what you you say a Stingray is?

[quote name='Knork' timestamp='1295089755' post='1090253'] must have this bottle bass! i'd say a P sounds like a male and a J like a female tiger growling. [/quote] Thats the second best way to describe it This thread is great

[quote name='bubinga5' timestamp='1295047214' post='1089985'] Precision... a man walking walking to the beat with big traditional boots on... Jazz... a man walking to the beat with big traditional shoes on... same punch.. different weight... [/quote] That is just brilliant. Sums it up for me

Generally I totally agree with the OP comments and its how I have played most of my life. Amp, cable, bass (usually Precision of Jazz) and nothing else. I like to keep it 100% simple. I would however add that I think the bass you use is a very important factor in defining your sound. I mostly use a Precision as it has fitted with most things I play from punk pop with a pick to thumpy motown finger style. However, using a Warwick or a Stingray will change the overall tone and put a different angle on it and may work better. Saying that, I have just purchased a flanger and overdrive pedal to create a few different tones but and I can't stress this enough, it would only be if a project required it rather than changing my usual tone all the time.

[quote name='charic' timestamp='1331796085' post='1578837'] If you were closer I would have lent you mine for the rehearsal mate. Have a good one! [/quote] Thanks Charic for the offer, thats very kind of you sir.

Thanks for the comments so far. So why don't Fender stick these original/vintage sounding pickups in their US standard Precisions if these are closer to the original tone or is it a case of manufacturing to the original tone is more costly so the current standard pickups are a cost saving exercise whilst trying to stay as close as the original tone? Perhaps its a marketing exercise. Either way I might try a set if they do sound better although I like the look of those Aguilar pickups also.

[quote name='coasterbass' timestamp='1331741087' post='1578107'] I've used MattSnowball many times, both for bass gear and PA bits, and can wholeheartedly endorse them. Phil is great to deal with (nice surprise to find you on here Phil!) In fact if you look closely at my avatar pic you'll see an Ampeg 1x18 that I hired to beef up my 4x10HLF and SVT4 rig a couple of years back. Nick [/quote] Thanks Nick for the feedback. I will be using Phil if the audition goes ahead. Cheers.

Has anyone replaced their standard precision pickups with the Fender Precision Original/Vintage design pickup. Would love to hear what peoples thought are and if this is a worthy upgrade from an American standard pickup. [url="http://www.fender.com/en-GB/products/search.php?partno=0992046000"]http://www.fender.co...rtno=0992046000[/url]

Thank you, thats great and really helps me out. Once I know if I have the audition I'll be in touch. Cheers.

[quote name='phil625sxc' timestamp='1331721553' post='1577568'] the company i work for does, we're in London if that's not too far ? have a look here: www.mattsnowball.com [/quote] HAHA thats cool as your company is the only one I have found that has decent enough gear and so I saved the link earlier I was looking at the Ashdown as a possibility.

I might need a 4x10 cab and loudish amp, maybe 500 watts for an audition soon and I really don't fancy buying it unless I get the gig. Does anyone know anywhere that hires out bass amps and cabs? I am based in Surrey/Hampshire but don't mind travelling further afield to collect if I need to. Thanks.

[quote name='peteb' timestamp='1331585224' post='1575461'] Thanks for making the effort to put that up, nicely played if I may say so! I do kinda see what you’re getting at but it’s not how I would normally approach playing a groove (maybe a middle 8) I do think that we all may be getting a bit carried away with ourselves here. I waded into this thread because Doddy said that Billy Sheehan was wrong to say that a bass player should lock in with the bass drum – basically I thought that Doddy was wrong! I am then backed into a corner and end up saying that the bass should always cover every bass drum beat, which of course is the general rule but as we all know musical rules are there to be broken whenever the fancy takes us! I’ve just been listening to a Steve Lukather CD in the car and as a result of this thread found myself listening to the rhythm section rather than just the songs / vocals / guitar playing. As you might expect, exemplary playing and a variety of different grooves – but every bass drum hit is covered by a bass guitar note……….! [/quote] Hey thanks. Sorry if you felt backed into a corner. Certainly not my intention. I just feel that with music there are no rules regardless of what anyone educated or uneducated in music says. Music to me is all about expression, freedom and communication. How you choose to do this is totally up to the individual and there is no right or wrong, be it on the beat, off the beat or some other method that the musician feels is right. Music is a blank canvas and in my opinion there are no paint by number in music.

[quote name='peteb' timestamp='1331554131' post='1574546'] OK...... I am happy to stand corrected on this point but would like to hear some recorded examples of how this works first! Certainly an unusual way of way of doing things and dunno if it would work but I would certainly like to hear what it sounds like! [/quote] OK, a very very crude recording here but it gives you the impression. I could not program EZdrummer to play exactly the drum beat so here it is playing a standard 4/4 bass/snare/bass/snare with the hi-hat playing 4's over it. In reality it would be bass/hi-hat/bass/snare with the bass guitar playing the root on the hi-hit and snare part. I so with I could think of the songs that use this beat. If I do I will link it up. [url="http://soundcloud.com/michael-boylan/offbeat"]http://soundcloud.com/michael-boylan/offbeat[/url]

[quote name='peteb' timestamp='1331554131' post='1574546'] OK...... I am happy to stand corrected on this point but would like to hear some recorded examples of how this works first! Certainly an unusual way of way of doing things and dunno if it would work but I would certainly like to hear what it sounds like! [/quote] Ok, I will have to try and dig them out when I get home. I may even record an example and post it up. It was something I noticed the Disco genre did which was then crossed over into 80's pop music. Its not that un-common.

[quote name='peteb' timestamp='1331487239' post='1573578'] Some really bad advice here from a few people who really should know better! The basics are that you play to the drummer; therefore all good bands tend to have someone behind the kit who has good time & feel - generally the drummer should dictate the pace of a song and assuming that he is playing a backbeat (i.e. rock, funk, etc.) then the bass player should lock onto the bass drum i.e. [b]every bass drum beat should be covered by a note played by the bass[/b] King Billy is, as ever, quite right! But then again, it’s pretty basic stuff….. [/quote] Sorry but this is not true. You can play an offbeat note, playing a single bass note on the snare leaving the bass drum beat free of any bass guitar note in the same way a reggae rhythm guitar part is played. This creates a driving offbeat feel especially if the drummer plays 4s on the hi-hat.

[quote name='silddx' timestamp='1331495766' post='1573810'] I have had one bass lesson in my life, it was with Jake Newman. I only needed that single lesson. Jake made one remark that stunned me, completely floored me, and that one remark was the essence of what it meant for me to realise my musicianship. And that the most important thing you can do, before all else, is to open your ears, absorb EVERYTHING you can, and turn it into music that reflects YOU. Develop your aesthetic in other words, develop your inner VOICE, then learn how to externalise your voice in such a way that they become one and the same. The object lesson of this is to then develop the musical and technical skills you need to reflect your inner voice with as much accuracy as possible. This is what I wrote on Jake's Bass Tutors thread later .. [i]"Never having had a bass lesson ever, I had my first lesson with Jake Newman (Jakesbass on 'ere) a few hours ago. All I can say is my mind has been opened like a bloody flower! I'm no newbie to this bass biznis but blimey, has Jake taken me apart. I feel like a musician all of a sudden but with so much personal expression to learn. We talked a lot of the time and this was a massively important part of the session.[/i] [i]My most enormous f***ing lesson for tonight was: [b]Sing what you hear in your head, then play it on the bass. Jake was singing me what he heard in his head, then playing it on the bass milliseconds later. I, being the competitive sort, had a bash at the same thing, Jake told me I was singing what I was playing, not playing what I was singing. He was absolutely right. I really thought I was playing what I was singing, but I truly wasn't and I instinctively knew that. A very humbling and exciting experience.[/b] It taught me a lot about myself and a helluva lot about why I didn't feel I was expressing myself musically. I am restricted by my technique, my repetitive patterns and my lack of/mis understanding of basic theory. I have some homework and I am raring to go! I can't believe how beneficial one lesson from a real musician (one making a living at it, one who has played with such notable musicians, and who is so accomplished at personal expression through a piece of wood with strings on it.) could be."[/i] I never followed the exercises Jake gave me other than a few cursory attempts. The lesson made me realise that I have a quite well developed musical aesthetic and that what I need to do is learn how to play the music in my head. It feeds off itself and I really do feel I am developing a style and approach unique to me. If I can't play what I hear in my head, then I damn well learn how to very quickly, because then I can express myself. I can't play Jazz, or Country, or Rock n Roll, or Funk, or Afrobeat, or Reggae, or ... What I can do, most of the time, is play ME. And thankfully, the bands I'm in appreciate and like what I do because, I believe, I have an aesthetic that includes the practical and emotional needs of myself, the other musicians, and the SONG. Sorry for the self-aggrandizing rambling post. [/quote] This is exactly how I have written bass lines for the last 23 years. I even sing into a small recorder/phone if I don't have a bass at hand.

Cheers everyone. Thanks Nige. Yeah the song is a bit different to what we normally do. The girl in the band usually sings the songs also. As for the video, it was just something a friend and I knocked up with a bit of footage taken from the recording of the album. We were short of footage so we all went up to the woods to get a bit more to fill the gaps so not a proper job, more of a home movie effort

No comments? Is it that bad

We managed to put a video together for this song. Hope you like it. Not a lot of bass apart from the last chorus. [url="http://www.youtube.com/watch?v=KR5GR-AlGFI"]http://www.youtube.com/watch?v=KR5GR-AlGFI[/url]

Here is the debut video for my band "Cow". The song is called "Black Harvest" and is features on this months Mojo magazine. Not a lot of bass in the song to be honest apart from the last chorus but I think the video is quite cool. Hope you enjoy it. [media]http://www.youtube.com/watch?v=KR5GR-AlGFI[/media]

[quote name='Lfalex v1.1' timestamp='1331401832' post='1572479'] MMmmmm. wonder what these would be; Fender Mustang Warwick Corvette Musicman Stingray [/quote] I think a Stingray is generally very well made, pretty standard but with a unique tone and active. Its also a good work horse. So to me it has to be a reliable family hatch/saloon but a little different to a run of a mill Ford Focus/Escort or VW Golf etc. Maybe something like a Honda Civic.

[quote name='TheGreek' timestamp='1331400660' post='1572455'] This how I see my collection and those similar: A lot of people believe their Fenders are Porches when really they're Volkswagon Beetles...tired and old.. Wal/ Sei/ Overwaters/ Sodowskys are like Hot Rods - they look like old bangers but really they're nitros injected, turbo charged supercars in disguise... Status are like Lambourginis - look like space ships and perform in the same way.. MM 'Ray is a Transit van - does everything you need it to - not in a flash way but it can do nearly everthing.. My Jaydee - bit like a Lotus (but far more reliable) - a reasonably priced supercar.. My Veillette Citron is like a lovely old Morgan - doesn't really look like much but boy can it go when it needs to.. Most passive basses are your family saloon - solid and reliable..Active basses are like the Turbo-ed version of that.. [/quote] You do have a very odd view on cars and have clearly never owned a Lotus

[quote name='The Bass Doc' timestamp='1331390868' post='1572270'] And the Robin Reliant would be? [/quote] Well, its not in the top 50 so I guess not a good bass. Rickenbacker maybe?? Both are ungly and unbalanced (Hides under the table from 4000)

Well, the biggest selling car of all time is the Toyota Corolla. I imagine that the Fender Precision is the biggest selling bass in the world. The third biggest selling car is the VW Golf so maybe thats the Fender Jazz.