akabane

It's incredible how much ignorance can be spewed in a post and touted as facts

The only issue I personally see with it (and talking about 'normal' pitch correction, not heavy autotune), is that it means that between the singer and the band, nobody even HEARD the singer not being in tune; if that were the case, surely they'd just make the singer practice that parts more.

I agree, but you're talking like the pedal makers can't take the development cost of an actual modern product, which is why I really hate the pedal market. They don't care because everyone keeps buying the same pedals from 15 years ago in a new (sometimes) shell! Companies don't develop in series, but in parallel. Along with the yearly pedal rehash, they could spend some of the budget to advance the industry a bit and if they started the process 5 years ago, trust you me, we would now have an actually good digital, usable, non-crippled pedal, that can do things expected in 2020. I guess I'm just waiting for the line of old gits "only twists me one nob" to stop fueling the market, so perhaps some incentives will come through lol

To be fair to the argument, I do understand the need for specific looks or qualilties, especially in the normified metal/djent genre where if you don't turn up with a dingwall with a darkglass fx you'll likely be laughed at, regardless of the sound your current instrument can produce. I do agree that depending on commitment to the band(or genre), OP should try to compromise; surely not 2.5k worth of compromise though, that's the point. One spends 2.5k on an electric instrument if they REALLY want it and they REALLY can afford it. That doesn't change that my quoted point in the previous post is a sad and false statement.

Well, this is grim to hear there's people reasoning like this AND factually false, especially when you are talking about electric instruments; which is what makes this statement sad, considering it's been spoken as truth lol.

I just find it really jarring and disappointing (but hey, music hardware has to keep churning money) that in an age where we can fit incredibly powerful chips into a wristwatch, our big-donkey digital fx are still stuck in the '90s in terms of audio technology, and every year new FX HARDWARE BOXES come out, which is ridicolous. It's time to get rid of shitty DSP processors and advance a bit there. But then half of the guitar and bass players wouldn't know what to blame for sounding like crap nor where to throw money at, hmm...choices, choices

Sounds good! Bit of feedback: your singer is flat against the instrumental, I'd add a few cents to bring the voice in line Btw: is your singer italian by any chance?

Hey you! I was first!

Congrats! the most beautiful W&T body shape (not that embarrassing ‘let’s try to make a Dingwall like look they seem to sell’ bullcrop they have on their website now) coupled with the right amount of strings! What’s the string spacing? If you ever want to pass it on, remember me!

Thank you for posting these in a more legible way. It is of uttermost importance than nobody should actually feel threatened by this character and they save eventual threats for future reference.

I want to thank everyone in here who insisted that this thread would stay open and public. Just caught up with it. Mr. Mason is lucky indeed so few people that fell for his antics took action with Police, legal ways or just plain accepted his invites to have a ‘chat’, as attempting to write on a keyboard or even play bass with a few broken fingers I’m told can be challenging. Just as another word of warning from someone who used to study conmen and scams for a few years (of which by the way he is only the latter, as conman is too much of a compliment for such a...silly Willy), obviously do not give any credence to anything he says - starting from ‘I’ve shipped your pedal’ to ‘I’ll sue you’ to ‘I’m coming over for a wee chat’. Just do not engage in angry countertalk as it fuels the scammer with the knowledge you are all still pending from his lips to get your own money back. Do not cede to conditions to get your money back. Stay calm and collected, pat him on the head and let it flow underneath your feet while you compile fraud and police reports. Do not give belief in any of his friends or associates contacting you on their behalf. Do not give belief if he tells you he’s talking to the police and *he* needs info from you to forward the police. Do not give belief if you get contacted by an ‘attorney’ or a ‘legal representative’ shortly after you’ve asked your money back or threatening to take legal action. If anyone falls for this specifically, they will go into the ‘sinker’ part of ‘hook, line and sinker’ and the scammer will manage to get even more money out of you. Do not fall for the thought process of ‘why would he do that for 50 or 100 quid? He gigs around/has a job/whatever’. This is literally the same argument thieves (and we are talking about people stealing millions) make when caught on fingerprints ‘why would I do it that way? I’d have worn gloves’ - the reason is because they’re lazy and incompetent, for if they weren’t, they wouldn’t be stealing or get caught in the first place. And although I do sympathise with anyone who has an addiction of any kind, do not give belief when the scammer hides behind those things as they are just another layer of lies. He finds himself in quite the unlucky situation of someone who not only has been exposed and now reported a few times, but also has a recorded criminal history and keeps forging identities and protected material, thus creating even more criminal liability on top of what would have been a ‘simple’ product fraud/attempt issue. I can’t help much more if not by saying that I am willing to chip in with SERIOUS amounts for help with legal costs against this person, as it will be sunk money for everyone even when the cases will be won. Let’s be clear, very few people will get their money back from it regardless. Even Her Majesty can’t squeeze blood out of a rock. Most of the times, those people live by flipping profits from a scam to the next, and they stay overexposed for way too long and will NEED to scam MORE people in order to give YOU your money back. And guess what, once they do, a good portion of the cases they will think ‘well...I’d rather keep this money now’. I am glad to see a good portion of the basschatters who were victims going out of their way to keep this thread healthy and alive. Scammers make it a matter of principle and so should you all. Just like the magnificent guy who knocked on every door until he found his house, then magically the money appeared on his bank account. THAT, by the way, Mr. Mason, is how you successfully threaten people, and how you are a class act about it (I can say for sure if I had been in their shoes, I definitely wouldn’t have been happy with just being refunded, I’d have definitely insisted on sitting down with him and have a nice...group videochat with the rest of the BC fellas myself) I’m sorry for the lengthy and frankly quite useless post, but after eating through 30-odd pages, my blood has been boiling non stop and this helped calm me down a bit. Mods, let me know if I have used unnecessarily unkind words towards him, so I can edit them out. Peace and happy festivities to you all low end geezers, Em

...then go back to 6!

Welcome to the 6ers club! once you’re in...

Delivery drivers DON'T WANT you to know this LITTLE KNOWN SECRET to have your bass delivered during xmas!!!1!one

Just how many times has this poor thing been walked over? 😮 I'm sorry - I hope the bass is in a hard case indeed.

Exactly. Which is why nobody really *needs* to know that theory side of those things, as long as one learned how and when to slot them into the music!

The way I see practice structuring advice is that it's something that heavily, heavily depends on the person, what they play/like to play and how their character is. At the end of the day, it just depends on what someone wants out of their music playing. If you're someone who's happy with not knowing why things sound the way they do, and are happy knowing the songs in your set to do your 30-50 gigs per year to enjoy having fun with your mates, there is no reason for you to spend any time on theory/modes/scales/read charts/etc... You will never need that knowledge applied in any way (you're never going to jam to an improvised tune which is not part of your set or follows the same standard), nobody is ever going to put a chart in front of you, you will have the time of your life and enjoy playing you covers/music. To do this, commitment to theory and structured practice is a big old zero. For EVERYONE ELSE who does NOT fit into the above category, I would suggest to add some degree of structured practice. Coming from a classical studies background (and having let that slip for the past...10 years, and my technical playing is now completely shite because of that) I know the benefits of such a thing, trusting the process and so forth. However, structure has to change based on you. In any structured routine, something that is vital and necessary is to play some actual music you like/are learning during the session. You just keep going at your scales for a month straight without anything else in between, you will get burned out. (This excludes people that tend to have a more obsessive behaviour, for which structured practice is a blessing instead). However the point I want to make is that neither approach makes you an inherently better musician. Plenty of cats never learned how to play a phrygian when called for, and they're among the best players in the business. They still play the fricking phrygian, they just don't know how it's called. They know how it sounds. On the other hand, plenty of people deep in technicalities and with plenty of theoretic knowledge, never played with a live band before and would fall down to their knees at the first drum fill. Obviously I'm talking extremes here for the sake of example, and the best is in most cases somewhere in between. I've just in the past few months started adding structured practice again, and I tend to do 20/30ish minutes of modes/arpeggios to warm up, then a bit of note hunting on the fretboard (learning some spots I never did learn), then pratice whatever music/songs I'm wanting to study or play for an hour or two (or whatever it takes, longer when I'm learning something complex by ear), and follow up with some slow chords practice at the end. The idea is that the songs/music/learn new material takes still the majority of practice time - with an unchangeable head to the session (modes/arpeggios/scales) - a variable middle (songs to learn/pratice/etc) - and a variable ending (currently on chords but can be any other technique you want to be working on). This should keep my fingers and mind limber and allow me to have plenty of fun both in the music I'm playing and the techniques I'm studying. As always, progress is bite size, but visible and very rewarding. So in closure, I'm very pro structured practice sessions, however I do not deem them necessary for someone to be a good musician. As long as we understand each other when we're playing together and it works and sounds great. As the good ol' Vic would say: "The objective is getting you to learn the language of music. How you get there is almost irrelevant, as long as you do" Peace!

Beautiful, beautiful instrument, congratulations! Those tiger stripes

I can hear the Stravinsky line already *mwaaah mwah mwaaaaaaaaah*

I just love the sound and character of a Smith. This is a test recording I made over a bass-less version of Pat Metheny's "Have you heard" (pardon the dud notes here and there, still learning it): Straight to Logic DI, no eq/fx etc. Using 'new' eq settings (in the back cavity of the Smith) Bass/Mids/High flat, pick up slightly biased towards neck EDIT: Welp tried uploading on soundcloud but no dice, copyright strikes fast and hard. Just attaching it here for now; let me know if there's some other streaming based alternative I can use in the future so it's an embeddable 'just play' thing? Have You Heard_KSTestmp3.mp3

I don't really mind It allows to find some good ideas/versions/arrangements! Edit: Given that the 'issue' seems to be the fact that those covers are being made in response to the death of someone, I'll put it in these terms as an idea: if I published a cover of a Van Halen song three years ago on Youtube, it's always only had 54 views. Today, it blows up to 500k views. In an alternate universe, I never published that video, and I hear that Van Halen passed away: I now make or publish that cover, that reaches 500k views just the same. From a 'final user' point of view, who is the one that is actively going to look for those things given what happened (aided by the good old YT algo), nothing changes - I get served the content I looked for. So it's just a moral question, at the end; Youtube is an on-demand platform first. If you see content being watched a lot, it's because...people want to watch it