Kiwi

welcome RB - how far from Roman Road are you?

yeah, how about the classic, tried and tested combo of a P-bass and Ampeg SVT? Last you for years that will.

wow - lovely stuff. What are the serials on the Jaydees, out of interest?

[quote name='bassjamm' post='99480' date='Dec 5 2007, 12:04 PM']I'm after that big black thick R'n'B bass sound, like you hear on Jill Scott's 826 live album (i think the dude used a P bass lyte for that, so i heard once), or like Pino on D'angelo's Voodoo, i can obvisouly get that sound in the studio with the F Bas, but live is a little more tricky. It's tough though, because i love the Meshell Ndegeocello kind of sound like she always pulls off so sweetly, just pure jazz bass honk!!![/quote] Aaaaaaaaah! OK got you now. Try an Ampeg then but I suspect you're totally right about your F-bass. It's probably a little thin sounding for what you're after. [quote name='bassjamm' post='99480' date='Dec 5 2007, 12:04 PM']As for the drive thing...is that essentially adding a small amount of distortion to the sound? I'm not familiar with all this kinda stuff![/quote] Yeah, just a smidgin of a tad of valve drive. [quote name='bassjamm' post='99480' date='Dec 5 2007, 12:04 PM']I must admit though, when i tried out that Jazz bass 24 in the shop, i went through an Ashdown head of some kind (one of their better ones i think) and an ampeg 6x10...that sounded sweet as...loads of thump!!!![/quote] Well Ashdown also have a vintagey kind of sound I guess, to my ears its a little too woolly to sound that satisfying though. Did you try that combination of cab and amp with the F-bass at all? It might do the trick.

Hi Eric, welcome back. I'd love to live in Melbourne, I have friends there living in Glen Iris too. Houses prices aren't too different to the UK - at least last time I looked. I couldn't find a bank that would loan enough for me to buy there though, which was a shame.

[quote name='bassjamm' post='99271' date='Dec 4 2007, 10:44 PM']But the F Bass is essntially a Jazz bass clone man!![/quote] When I played it at the last bass bash, the bass sounded more like a Jaydee to me and I said so at the time. Maybe I'm not totally clear on what you're looking for. How about trying an EBS Fafner for kicks if you find a shop with one or find someone who owns one. You could also consider an Ampeg SVT, they're fairly grindy sounding. Finally you could always give one of Dave Halls VT1 pedals a shot with a low overdrive setting. When I reviewed one on Bassworld I mentioned it sounded a little bit like a Ampeg in pedal format. I've never tried any of them with an F-bass so please bear that in mind. I wouldn't normally suggest any of these for funk bass though - are you after some kind of old school, lo-fi sound?

[quote name='bass_ferret' post='99241' date='Dec 4 2007, 10:15 PM']Sounds like the old synergy problem, your stage gear works better with one bass than it does with the other. I think the more upmarket the bass the more sensitive they are to this problem, even varying from room to room. Sometimes my full on Spitfire sounds better, sometimes the stripped down P bass one cuts it better.[/quote] In my experience it happens with many basses that aren't a jazz or precision clone, it's got nothing to do with how upmarket the bass is. Most amps are coloured in some manner and there's probably no better basses than the industry standard Fender J/P for manufacturers to aim for. [quote name='mcgraham' post='99245' date='Dec 4 2007, 10:18 PM']Anyway, that isn't the focus of this thread. But Kiwi, thanks for making me pick up my Smith again... and I shake my fist at you at the same time [/quote] You're welcome, I think [quote name='bassjamm' post='99263' date='Dec 4 2007, 10:35 PM']I've never really given the EBS amps a run for their money, i've heard that pretty hardcore though...what amp were you thinking of? I really love the TFunk and Dr.Bass set-up though man, it's a pretty sweet stack, maybe though, just maybe...let me know what you reckon![/quote] Well I've heard good things said about the Fafner head, maybe less good things about the TD heads but its all a question of taste. I'd imagine your Thunderfunk amp would be fairly versatile being solid state and help keep the mids. However if your cabs are 2x10, maybe you need to add a 1x15? I used a pair of 2x10's with my Eden and they may have been part of my issue too. I don't think a pair of standard 2x10"s really put out lows very cleanly. Having said that I've been pretty impressed with my Acme cabs which behave as if they're a combination of 10" and 15" cones when it comes to projecting the lows.

The reason I thought of cabs is because its important to make sure you choose amps and cabs that are capable of faithfully belting out the frequency sweet spots on your bass. Not all amps match all basses equally in my experience. I had the problems you describe with my Eden WT800 head - doesn't mean the head was at fault but with my Smiths, it tended to exaggerate the scooped character where I had problems hearing myself. When I switched to GK I had no more scooped problems so I put it down to my backline. My other basses sound fine too so it wasn't the basses which were the problem. I just hadn't matched the backline to the Smiths very well. So maybe if you want a ruder sound, go for a ruder amp/cab combo? How about EBS? The valve grind control can sound pretty raw sometimes. Thanks for the kind words about the Smiths Mcgraham, they're very satisfying to play - I think thats the point I was trying to make! They also sit in the mix of most modern dance/rnb/soul/latin/house songs so nicely - just like you'd expect to hear on a record. However they don't do motown and they don't do disco, so I need other basses for those styles.

[quote name='bassboy115' post='99123' date='Dec 4 2007, 08:15 PM']Im thinking about getting a 4x10 and a separate head instead of my ashdown 210 combo... I was looking at hartke gear...im hoping to get the Hartke 3500 head and i was wondering... whats the difference between the 410 transporter cab and the 4.5XL cab? What is the better cab of the 2? will i get about 250w out of the amp with either cab? thanks Alex[/quote] The Transporter has a lower power rating, no tweeter and the construction is less substantial than the 4.5xl, amongst other things. You can check the spec for yourself if you like.

[quote name='mcgraham' post='99117' date='Dec 4 2007, 08:06 PM']The Smith sounds great solo and does a few things very well, but the Geddy Custom blows it out of the water for fitting with every group I've played with.[/quote] Its funny, I find myself playing the Celinder P-bass often coz it fits the music and its OK but sounds a bit muddy if the amp isn't right up against a wall. I switched over to my Smith and suddenly the world seemed a better place - lows, clarity, mids etc. It was like sinking into a warm bath again. I was just thinking about on stage acoustics, thats all, but if you've already hit a good sound with the Marleaux then that takes acoustics out of the equation. What's the issue specifically with the F-Bass? Is it because you can't hear certain frequencies? Have you considered getting a different speaker set up for it perhaps?

can I ask how do you know that its the bass which is the problem?

[quote name='Mikey D' post='98955' date='Dec 4 2007, 04:37 PM']I'm in.[/quote] The copyright issue is probably a valid one, unfortunately. Thats probably going to require everyone to sign a waiver, and we'll have to refuse submission of any cover songs. Why not change it to the Basschat Christmas Jingle CD? Everyone can submit a short 4 line or more verse set to music.

[quote name='Sparky' post='98743' date='Dec 4 2007, 12:37 PM']I think it should be pinned - it's a good resource for newcomers.[/quote] Good idea! I've taken the liberty of changing the thread title just so people browsing understand more clearly why its pinned.

when I read the title of this thread, I had visions of the Two Ronnies and their Fork Handles sketch...

hi Spark "Perfect" bass?

that Sei looks like its top might have been from a lump of thuya. If so, Martin had sourced it personally and had it imported into the UK while he was on holiday in Marrakesh.

[quote name='ARGH' post='97858' date='Dec 2 2007, 11:16 PM']Prove Im not right.... www.bassplayer.tv Jeff vs Steve debate. (if its still up) You dont need a metronome to play or practice Bass. You just need a Bass.... (amp and cable and stable electricity source helps...oh a strap,if you wanna walk about too) Click tracks aside..for samples and stage effects (film/lighting). The relative-ness of time.....well myspace Dr Hawking, he's better at the abberation and abstract of 'time' than me,mind you hes electronic,so hes already in perfect time. If everything was in perfect time,like pitch you would have to bin most of your records and you would hate the rest.[/quote] Matey, the burden of proof is on you in claiming I'm wrong. If you can't prove your claim then it has no credibility. Not sure what relevance Stephen Hawking has but if you read my original post you'll see it set out an argument of horses for courses. Metronomes are useful some of the time, but are not a way of life. Problem with arguments like this is that it's all too easy to fall into one of two camps, when instead a bit of perspective on the situation from those who are setting an example would be a load better for bass playing in general. Of course if you WANT to take an extreme position on this topic, that's your perogative entirely.

[quote name='hogman' post='97813' date='Dec 2 2007, 09:47 PM']CrazyKiwi if your drummer cant find his place on the beat i think its P45 time (Unless he drives the van) no excuse in a gigging band.[/quote] Mate you should have seen the drummers we turned down! At least he plays more consistently these days. Its difficult to get professional anyone when you're starting out, goodness knows I've tried and been faced with the biggest bunch of unreliable opportunists its ever been my misfortune to meet. When you're making a bit of money suddenly every pro out there wants to be best mates. Of course, the other handy thing about our drummer is that he's an accountant so is well versed on tax matters and is doing the band accounts for us (including tax refunds on the cost of gear - I'm still hoping Flanker, Alemboid and tonyf will send me some reciepts ). [quote name='ARGH' post='97829' date='Dec 2 2007, 10:08 PM']Time is relative anyway...I see what you say,but its just wrong.[/quote] You mean you disagree with it? Fair enough. I challenge you to prove I'm wrong though.

[quote name='ARGH' post='97802' date='Dec 2 2007, 09:31 PM']If you can clap your hands at an even consistancy,you have timing...[/quote] Yeah but thats just tempo and pretty simple, to do. Jeff covers this on his standard talk on the topic by picking a youngster out of the audience and getting them to clap following his example. Big deal. There's a difference between clapping consistently and using your fingers (and different muscle groups) to play RELATIVE to the beat which is what gives feel. I'd like to see him get that youngster to clap in front of the beat or behind. Or play the first note in a 4 beat bar in front with the rest of the notes behind. I don't think he makes his point well at all in person, and comes across as more than a little patronising.

[quote name='ARGH' post='97782' date='Dec 2 2007, 09:02 PM']Metronomes have very little . if any, use in modern music[/quote] Modern music that doesn't have sequenced parts, you mean? A professionally trained bass player should be able to play along with both quite comfortably, as should any professionally trained drummer. [quote name='stingrayfan' post='97794' date='Dec 2 2007, 09:18 PM']Reminds me of that old joke: Q: How do you know when a drummer's knocking at your door? A: It gets faster.[/quote] The problem we had when he was less confident was that I would play behind the beat on a given song and he'd slow up to match me. The song would then slowly grind to a halt. Alternatively we would be playing on top of the beat in another song and I'd drive the verse a bit as it went into the chorus and he'd speed up trying to keep on top of me. Thing is that despite these issues, he doesn't see being in front or behind as the reason why he can't keep tempo. He had a famous session drummer also tell him that it was important to know the difference. He still swears blind he can't tell though. I've even sat down on the drums myself and played three four-on-the -floor drum beats behind, on top and in front to a blank look on his face. PS: We're currently rehearsing Don't Stop Til You Get Enough, and you wouldn't believe the trouble the timing of two notes is causing me to get the right feel. Stuff like millisecond-perfect playing puts a lot of the widdling in perspective for me. Reckon a bit of percussion might give me a better point of reference.

Mr Berlin is well known for his outspoken views. The thing is that you'll hear a sound bite from him which sounds like an extreme position on a given topic but if you get him to explain what he means, he becomes more moderate the more he expands. The key to feel is being able to play in front and behind the beat, I've found playing with a metronome increased my awareness of where the beat actually was. However I certainly wouldn't recommend getting used to playing with it because most drummers are not as consistent as a metronome. Our drummer is still struggling with hearing whether something is in front or behind. He tends to play in front all the time when the song needs him to play behind.

[quote name='Paul Cooke' post='97498' date='Dec 2 2007, 07:25 AM']are you sure you're a bassist??? cos it sound like there's a drummer inside you trying to get out... [/quote] And if so, how did the drummer get there in the first place?