Kiwi

Can it profile without a mic, say off a DI?

OBBM has supported him in the past. I've seen him too, he's an interesting chap. His bassist played a Modulus TBX and swore by it.

For Hair Metal? White, no question. If you get bored with it later, you can graffiti it with spray cans or markers.

Played nice too!

No it was the President 500/5. [url="http://www.thebassgallery.com/product_details.cfm?ID=2465&type=Bass%20Guitar"]http://www.thebassga...e=Bass%20Guitar[/url]

I only just missed out on free tickets to that gig through work and then the following day half price tickets. Kind of glad I didn't make it now, not seeing them perform at their best would have left me gutted!

There is a lovely Hofner in the Gallery at the moment for reasonable money.

This is what understanding the pocket is all about. I tend to visualise it like a wheel spinning clockwise. The mark on the outside of the wheel at 12 O'Clock represent the timing for playing on the beat. There's a mark on the spinning wheel which lines up with the mark on the outside once every beat. If I play when the two match up then I'm on the beat. Either side of that then I'm either in front or behind. So I need to imagine playing behind the beat, I'll play a note when I'm imagining the mark on the spinning wheel passing the 2 oclock position. Playing consistently is as much about mind as it is about detail though. If visualisations aren't your thing, just chill out and avoid playing the note until the absolute last nanosecond before the length of gap takes it into the next beat. Things get a bit more complicated when some notes are played on and in front of the beat during the same phrase. Chicken Grease is a good example. Have a listen and see if you can tell which notes are on, in front and behind.

[quote name='skankdelvar' timestamp='1373817133' post='2141890'] A blanket ban is easier to enforce than a selective ban on the basis that being intoxicated is an either / or condition. And, to be fair, many of the jolliest stories we hear on BC involve excessive consumption of the Devil's Buttermilk. I note that the OP does not mention whether engaging in sexual intercourse with [s]passengers[/s] customers or fellow employees is also prohibited and whther such a ban is partial or total. "Bass-chappie!" "Master-at-Arms?" "Did you shag Mrs Mulwray, the Texan oil heiress last night?" "No, Sir. Tops and fingers only." "You may carry on, Bass-chappie" [/quote] Indeed. Any frightful beastliness may well lead to beastly frightfulness. And it'll end up with us all going down with each other if we're not careful. Mark my words.

Its probably for heath and safety reasons. It's not uncommon for work places with a mission-critical operations role to have a no tolerance approach to alcohol. Yes exceptions could be made in specific circumstances but at the end of the day its easier for the company to manage a blanket ban rather than get drawn into debate over the relationship between roles and booze. Airlines have the same approach to mobile phones - not all cause problems but some do (like Nokia). The airlines don't want to get drawn into debates either.

Jimmy Johnson's 5 string graphite necked Alembic. I can't find a picture of the front of it right now though. Google is not my friend.

Dominic Piazza also does some fine playing - with a thumb pick too! That bass BTW is so close to something I've designed myself that I'm making with Jon Shuker later this year that it made me do a double take. Mine will be headless though.

[quote name='Happy Jack' timestamp='1373548155' post='2138912'] If you can make it to Chiswick then that should be do-able Steve. [/quote] Yep, I'm in Parsons Green so a short District Line jaunt away via Earls Court. Hopefully the Shuker will be working, but if nothing else there will be a Pangborn and maybe a 75 Jazz and Guitar Rig Kontrol if of interest. I may need to sit in on someones rig though.

I'll come if I can grab a lift with someone from West London. I won't have oodles of gear to bring either...for a change.

[quote name='molan' timestamp='1373490402' post='2138313'] I think it's sometimes worse than that. From a personally point of view I think any paying gig should be treated as a professional one (but I totally understand what you mean about the differences). [/quote] I agree and this was the biggest disappointment for me with the band I was in. We started off as a group of friends who survived the demise of one band only for there to be a split in aspirations with one faction wanting to make money and the other preferring to do something we enjoyed. The money making faction won out and the rest of us left as we got fed up with the grind.

My old band would start at 2500 and then negotiate UP for extras. We never had any issues with audiences apart from one Irish wedding where predictably enough they all got rat arsed and started pining for the ol' Emerald Isle during a singalong of Danny Boy, Rose of Tralee etc. while we were packing up. Had to take the mic of them eventually (and carefully). Apart from that the punters were great. I think a bit of market research might be in order if that hasn't happened already and be prepared to travel. The one thing I really resented was getting back on a Sunday morning at 3am after a 2 hour drive and having to lug my amp back up to my first floor flat.

Yes, everyone who has a post moderated should be getting a PM to explain why. If that hasn't happened, then let Hamster know so he can follow it up in private.

There's no best design, just different designs depending on what the priorities are . The bolt on design was developed by Leo Fender because he anticipated needing to quick swap a neck if one got damaged. Neck throughs have slightly better ergonomics for those who like spending a bit of time up the dusty end of the neck...which isn't where 90% of gigging bassists spend most of their time anyway. Although some say the bolt on construction adds a bit of mid scoop and loses a little sustain, it's technically possible these days to design a bass to sound the same regardless of which neck joint is used. If anything, wood selection and pickups have more of an influence IME and I doubt very much anyone will be able to tell the difference between the two joint types in the middle of a song anyway. I like the look of neck through, but nothing beats that micro tilt function in my 78 'Ray and 75 Jazz for setting the neck angle up just right. All wood dampens vibrations to some degree and selection of wood influences how that dampening takes place. Sometimes not enough dampening results in an overbright and brittle sounding instrument so there's a balance to achieve. Deadspots happen because the neck has less rigidity at a frequency that co-incides with a note being played on the neck. Neck laminations were developed by Alembic to isolate the influence of wood on the vibration of the string for that reason. John Diggins says he prefers set neck construction because it addresses the issues of deadspots while giving the ease of construction of a bolt on with the ergonomics of a through neck...or something like that...maybe someone can provide a direct quote. My Jaydee had deadspots anyway but they weren't significant like the 5th fret/G string deadspot on my '78 Ray. They're easy to solve though with a tweak on the truss rod, change in string gauge or even tightening the neck bolts can help.

I found it here; [url="http://invanddis.proboards.com/thread/1391"]http://invanddis.proboards.com/thread/1391[/url] But adapted it a bit.

My Child, repentance is nigh. Please say 10 "On The One...HUH!", 25 "yowsa yowsa yowsa" and cite the Prayer for Bass Players: [size=4][font=arial, helvetica, sans-serif]"The drummer is my lord and I shall not rush. He maketh me lay out in tasteful places He leadeth me beside [/font][/size][font=arial, helvetica, sans-serif]cool meter changes[/font] [size=4][font=arial, helvetica, sans-serif]He restoreth my "one". Yeah man, though I read [/font][/size] [size=4][font=arial, helvetica, sans-serif]through the trickiest of charts, I will fear no train wrecks. For he is down on it. His hihat and snare, both comfort me They setteth up a solo for me In the presence of guitarists. You bestoweth my licks with Big Nasty. My groove overfloweth. Surely good feel and funk will flow [/font][/size] [size=4][font=arial, helvetica, sans-serif]through all the tunes of each set. And I will dwell in the pocket Forever. Amen."[/font][/size]

Some of the Peaveys I've tried can sound a little woolly and a little middly. The TL-5's I've tried are a bit like that but the Sarzo and Palaedium (cheers Chris) are exceptions IME.

I don't know why they're so undervalued either. I tried one in the Gallery a couple of months ago and if it had been a 5 I would have bought it on the spot. Really great bass although to compare it to an Alembic is stretching it a little I think. I like their Jeff Berlin signature model too - another one that if they'd made it in a 5 I would have bought.

I used to use them for the Warwick Red label strings 5 years ago but had forgotten about them until you mentioned them!

I used to shop on Ebay or Stringbusters for the cheapest strings I could find and was very happy with the results. Usually I'd get Olympia but if nothing else was available, Warwick or Hartke would fit the bill nicely for less than a tenner. I've found Thomann offer Harley Benton Valuestrings for 9 Euro but are asking 10 euro for postage which makes purchasing from them completely pointless. Does anyone have any other tips or suggestions on good suppliers of cheap 125/95-35 strings?