Kiwi

I have an anodised pickguard on my Celinder P, its really durable and I love it. I don't understand why weren't standard on jazz basses too.

[i]"5 String USA Fender Precision in as new condition. This is a USA Deluxe edition." [/i] [i]"These basses were limited edition and are no longer in production. You can only get them in standard form and not deluxe." [/i]

[size=4]I can vouch for the Destroyers being a party-on-stage. Definitely worth catching, they're one of the best live soul bands I've ever seen. Bring your mates and family and be prepared to enjoy yourselves. [/size] [size=1]Do I get paid now, Rich?[/size]

lol! fighting over the remotes...

[quote name='tayste_2000' post='349389' date='Dec 9 2008, 09:25 AM']Generally the drummer needs to lock in with your out of time loop and they hate it[/quote] Yeah, well its simply not going to happen with ours. We tried getting him to play to a click when we recorded and he was so focused on staying with the click that his playing lost all its feel. That's kind of why I'd like something that I can adjust on the fly. Otherwise he has a habit of speeding up when he anticipates a more energetic part of the song coming up, like a chorus or bridge. Personally I think he just needs to practice with a click and get used to zoning in and out on it every few bars.

Would this mean you'd have to stop playing in order to fish the remote out of your pocket? Would the remote be IR or radio? If it was IR you'd need line of sight. But maybe it would be possible to achieve something using bluetooth...?

my eyes watered involuntarily when I saw that pic. Hope its salvagable Geoff but it looks very doubtful to me. If the headstock facing had been left undamaged, it could have been transplanted onto a new neck. If you can't send the bass back to George, then I'd be inclined to appeal to him to send over a headstock facing and get someone like Martin Petersen or Jon Shuker or Chris May (or anyone else who has a reputation for crafting good necks) to take care of the rest. The one thing George won't be able to guess before sending over a new neck is how to achieve a tight neck pocket fit.

I think the Moses Steinberger necks are OK, but I would be inclined to give their jazz necks a miss. Although they've been designed to emulate maple tonally they're just not stiff enough to handle temperature changes. I had a custom jazz with fretted and fretless moses necks once and the bass needed to be kept at room temperature or given at least 48 hours for the neck to straighten out if brought in from a cold room.

[quote name='timloudon' post='349225' date='Dec 8 2008, 11:53 PM']Is there anyone here who has had this experience- moving to london and slowly working towards a career?[/quote] You can drop a line to Phil Mann, Mike Brooks, Phil Mulford, Lowdown (Gary) and Urb to start with as they are all full time pro's. Teaching or writing seems to be the regular gig when the live work isn't coming in. The other thing to consider is that even if you get tour work, the rate you typically get paid is not that much more than doing function band gigs, even for international acts like Kylie. However some of the more established artists like Rod Stewart, Elton John, Cliff Richard etc. are rumoured to pay very well indeed.

hiya steve, so does that mean you can't adjust the tempo mid song?

[quote name='lemmywinks' post='348975' date='Dec 8 2008, 07:58 PM']From the Shadows and Light gig i think. There's some awesome songs on that. Check Dry Cleaner from Des Moines, that's ace![/quote] I could murder the dickhead who edited that. Some of the finest grooves ever on Dry Cleaner and instead of showing the man's hands at work they stick in some dumb ass shots of Las Vegas lights.

...how do you synch the pedal with your drummer? Does the drummer have to lock in with the loop, or can the loop be adjusted like a tap button on a delay if the drummer speeds up/slows down? ta muchly

I'm sure others are better qualified to comment than I, but even in London you'll need to be 110% dedicated to this career choice. You'll also have to be versatile and find whatever ways to make it pay when the performance work isn't coming in. Its VERY competitive out here with so many grads coming out of the contemporary music schools. Many of the musicians I've met have very supportive partners who provide a reliable income to support them both during dry spells. It's about who you know not what you know, as well. So it pays to get out there and meet other musicians who can slip you depping gigs. After a while you'll have done so many depping gigs and met so many musicians (and possibly other industry bods) that you'll have established a network of professional contacts. As a career choice it can be extremely mercenary and even well established musicians don't have a regular income (unless you're someone who has a regular high profile gig like Dave Swift). So a thick skin is an asset. There have been a number of creative pursuits I could have turned into a career (illustration/sculpture/music) but I didn't want the insecurity, couldn't handle the rejection that I'd have to go through before I got established, and to be honest I wouldn't have gotten as much satisfaction if I was dependent on them for an income.

[quote name='Mickeyboro' post='348745' date='Dec 8 2008, 03:50 PM']'The creative process is just the start and obviously comes second to the profit imperative.'\ You missed out 'going forward...' [/quote] I'll take raincheck on that, lets interface later after I've downloaded the bigger picture.

Depending on how much wood is actually exposed, you could attempt a superglue repair. I've done it a number of times on instruments with stone chipped sized dings and you can obtain a near invisible finish repair if you buff the dried glue flush with a nail buffing pad from Boots.

[quote name='birdy' post='348285' date='Dec 8 2008, 01:25 AM']Something like Crazy in Love by Beyonce is in a 'similar' vein and could work.[/quote] Thanks Steve! Some great suggestions there and I will give a listen to today. A structure is slowly piecing together in terms of how bits of songs could link but its like a jigsaw puzzle. I won't actually get an idea of the song as a whole until I've stopped making connections between components. [quote name='Mickeyboro' post='348329' date='Dec 8 2008, 08:35 AM']I think the whole thing of basing your song on another's shows total lack of imagination (having a pop at Rihanna and her puppetmasters, not you!)[/quote] I know where you're coming from but I guess that's the industrial side of the music industry, its about shifting product however you can. The creative process is just the start and obviously comes second to the profit imperative.

Down from 10 to 6 briefly this month and then back up to 7. May yet go back to 6...

[quote name='4000' post='348119' date='Dec 7 2008, 09:09 PM']I met Ed whilst in Vegas. I kind of wish I hadn't.[/quote] Oh he didn't try and [i]sell[/i] you something, did he? He seems to try and do that a lot, but I don't know why.

This song has been a brain worm since we gave it a shot in rehearsal yesterday afternoon. Once the percussionist got his 606 bass drum sample going, it was a barn stormer! So in order that we can develop it with minimal rehearsal time I wanted to draft an initial remix structure and run a few things past the other band members to see what happens next time we're together. I've noticed there are a few other songs that could be used for a mash up including Wanna Get Something Started (which is in the original) Small Town Boy - Bronski Beat (used by another youtuber in their remix) La Isla Bonita - Madonna (mine) Whole Lotta Love - Led Zepp (mine - that song seems to go with almost anything!) Can anyone think of other songs with similar chord progressions and a pseudo latin feel that we could borrow bits from? I'd like to structure the song to introduce each mash up after the chorus and then layer over the parts to build the song into a finale.

I'm not that much of a fan of it. Sure there's a bit of technical fluff but it doesn't really get down on the One like the original bass line, the fancy bits compete with the songs hooks and his timing is off. I know its a jam but I don't see the point of it, it definitely doesn't make the song sound better and isn't that what its all about at the end of the day?

[quote name='Lfalex v1.1' post='347774' date='Dec 7 2008, 11:39 AM']Flea - Modulus Flea signature. Arguably their take on a MM Cutlass, but his choices, tailored to his sound and style[/quote] Its probably worth pointing out that the "Flea Bass" was formerly known as the Sonic Hammer and had a more Quantum-like shape. So perhaps not quite designed from scratch in the same way as some of the other instruments. [attachment=16939:sonic_hammer.jpg] This was mine. A superb instrument but it didn't take prisoners.