BigRedX

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[quote name='super al' timestamp='1498582510' post='3325692'] Google is sorcery and we don't use it round here I've got Dave on speed dial and he says they were doing a session for Labi Siffre that was later sampled by m&ms on "my name is..." Didn't get a penny apparently [/quote] He would have been paid a session fee for his bass playing contribution to the album, and unless he specifically has a songwriting credit for "[font="sans-serif"]I Got The..." (the track in question) then he's not entitled to any further payment. That's why it's always more important to be the songwriter than just a musician who played on the recording.[/font]

[quote name='super al' timestamp='1498576696' post='3325638'] The guys are top, top musicians steeped in rock n roll history with one or two stories to tell. I can't remember which tune but one of Dave's basslines was sampled for an Eminem track I think (someone here is bound to know!) [/quote] Less than a minute with Google will get you the answer.

Use a solid bass. If you're playing amplified there is no tonal benefit in having an acoustic bass, and as you've discovered it's got plenty of disadvantages.

The only thing approaching a major festival that I have been to as a member of the audience was the Rock Against Racism concert at Victoria Park in 1978. The relatively long march from Trafalgar Square plus the fact that we were nowhere near the front meant that I arrived in time to see the last half of the The Clash's set. Then because my parents wanted me home at a reasonably sensible time I had to catch the early coach back to Loughborough which meant leaving just as Steel Pulse were starting to play. Other than that the only other festival I've been to where I haven't been playing was the Nottingham Rock And Reggae Festival which being held on the Goose Fair sit meant it was less than 10 minutes walk from where I lived so I was able to nip back to my flat if (when) the weather or the music was crap. As a punter, I'm not at all a fan of festivals (at least in this country). The idea of spending a lot of money to see a handful of bands from a distance, all of whom would (for me) be far better enjoyed up close and personal in a small sweaty, dark club, just doesn't make sense. At least as a performer at the better organised events there is somewhere back stage to escape away from the inclement British weather and great (literally) unwashed.

As someone who is interested in 8 string basses of this type, AFAICS there are 3 different bridges available that allow individual intonation of each string in the course - something that is absolutely essential on an 8-string bass IMO. The Schaller 3D version. The one used by Dean, Schecter and a few other budget far-eastern made 8-string basses; this is a two piece bridge and tail-piece combination. The one that Tune Japan use for their 8-string basses - a sort of variation on the high-mass style Fender-type bridge. Unfortunately only the Schaller one appears to be available without having to buy the bass to go with it! Why do you want to have different stringing for the strings in each course? IME I have found no advantage in doing this.

[quote name='BassAgent' timestamp='1498302372' post='3323711'] I'd get a Model D reissue waaaaaay before a Voyager. [/quote] Unless it was strictly for studio use, I'd take patch memories over any supposed superiority of sound. As someone who struggled using non-programmable synths in the early 80s, I have no time for even simple synths that don't have programmable memories for the sounds.

I think we have always been over-focused on the kinds of instruments used to produce the music rather than just the music itself. Hence the popularity of bands like Royal Blood who have one or two decent songs and a gimmick. Don't get me wrong, a good gimmick is essential to help promote a band and their music, but I'm now at the point where the instruments used are irrelevant. All I'm interested in is whether or not I like the music. And IME young people are still very interested in music. However they don't buy very much because they don't need to. Why spend money buying vinyl/CDs/downloads when you can stream all your favourite songs for free or watch the videos on YouTube any time you want to? These days just about everything is available no matter how obscure. When I was getting into music, hearing my favourite songs meant listening all day to Radio 1 to catch the couple of times that they would be played, or buying the record. There were no other options. And if you wanted to hear music that wasn't the latest single or album you had to buy it. I'm sure that if Spotify had been available back in the day I wouldn't have bothered spending money on records or CDs. And as for the problems of the big guitar manufacturers, I think a lot of it is down to the over-stuaration of the market. Why buy new when you can get pretty much anything you want second hand for about half the price? And there's just so much more choice on eBay then your local musical instrument retailer could ever hope to compete with. The only way I could see myself buying new these days would be if I was wanting a specific custom instrument from a small-scale luthier. If I want something mainstream, I'm happy to wait for it to turn up second hand.

[quote name='Andyjr1515' timestamp='1498157879' post='3322895'] [/quote] Just looking at that photo have you thought about how that is going to fit in a hard case, or alternatively what protection it is going to need in a gig bag?

[quote name='elephantgrey' timestamp='1498127596' post='3322641'] Someone's not a fan of fuzzrocious There are high end pedal brands that have things like midi presets alongside having alot more peramiters, chass bliss comes to mind. Imo you'll also still need some kind of switcher/midi controller for a rack mounted system. [/quote] Actually Fuzzrocious aren't too bad compared with a lot of boutique pedals I've seen. And a MIDI foot controller is lot cheaper and easier to replace if someone pours their pint into it than a board full of individual pedals. Plus I'll still have access to my basic sound for each song even if I can't make any mid-song patch changes.

[quote name='KevB' timestamp='1498122057' post='3322602'] I wasn't familiar with In Isolation even though they appear to be a Nottm band, clicked on the link to bandcamp and I actually quite like some of this stuff so thanks for the link [/quote] Thanks! I came across the band originally when we shared the bill at an early Terrortones gig and really enjoyed their music, so when the opportunity came up to play bass for them I jumped at it. [quote name='Muzz' timestamp='1498128545' post='3322650'] Just had a listen to the first song on the link...now THERE'S a bass sound (and mix)...fantastic Was that you on the recording, BRX? [/quote] And thanks again! Unfortunately that's not me. It is a great bass sound (and riff) though, and I think I've got it pretty much nailed live with my BassPod. I've only been playing with them for about a month now. I believe all the bass parts on the album were written and played by one of the guitarists. Quite a few of the songs I've had to learn feature bass lines with complex guitar-style licks that only occur once or twice in the song, but in very prominent places. It's a good thing that I'm also a reasonable guitarist otherwise they might have been a lot more challenging to play.

[quote name='blue' timestamp='1498067397' post='3322345'] I'm just not sold on bass multi- effects processors for gigging. For me they're too complicated, too many features and functions I'd never use. And I still say they don't have the "mojo" of the high end dedicated pedals. Blue [/quote] If by "mojo" you mean incomprehensible graphics that look as though they have been done by a 5-year old, and an unintuitive arrangement of the controls based on what was convenient to lay out on the PCB and fit into a generic-sized box rather than what makes sense as regards the signal flow, and still end up being as difficult to use as the worst of the parameter access devices, then AFAIAC you can stick your high end pedals. Give me the peace of mind that when I hit the foot switch for a particular patch it will sound exactly the same as it did the last time I played the song. Also any decent multi-effects unit will live safely in the rack case with my amp and not on the floor with the spilt beer.

Interestingly used to get the complete opposite problem when I was playing guitar live. My amp is a Hughes & Kuttner Tube 50 with a built-in Red Box DI. Despite the fact that I knew from experience in the studio that the DI sound was all but identical to mic'ing up the speaker with a Shure SM57 (and TBH I thought DI sounded very slightly better), trying to persuade most PA sound engineers that I wanted to use the DI output of my amp instead of putting a mic on it could be a somewhat frustrating exercise. Added to this was the fact that I didn't use any particularly high-gain sounds and the band played at a relatively low on-stage volume, which mean that when I did want to get feedback sustain, I would have to be very close to the speaker in order for this to happen. The presence of a mic in front of the amp could make all the difference between getting the guitar to feed back or not. Several times at multi-band gigs I would find by the time the band came to play the DI from the sound check had been replaced by a Mic...

[quote name='stingrayPete1977' timestamp='1498046495' post='3322187'] I used to use a zoom fx back in the day with auto wah,fazer,fuzz etc the results varied from venue to venue, often there just wasn't time to alter the gain and settings for each patch to suit each gig. [/quote] I gigged for the first time with my new band on Saturday. I have separate patches for each song on my BassPod (multiple where required) which have been adjusted to suit the guitar and keyboard sounds of the rest of the mix. At the gig most of them slotted in exactly where they should have done in the mix. A few didn't and they'll be tweaked again at the next rehearsal, and I'll see how it goes to the gig after that. After a few more rehearsals and gigs all my sounds will be exactly where I need them in terms of EQ and relative clarity. It's not particularly difficult to do.

[quote name='cheddatom' timestamp='1498048362' post='3322202'] Maybe if you spent hours getting everything set just right, with some creative EQ and compression, and an amp or an amp with speaker simulated DI output, on flat studio monitors, you'd have had better results? It works for me anyway (on multi band originals gigs). If my sound is too boomy for the room, they can EQ that out. They won't have to re EQ every time I change sound as I have them all levelled out [/quote] Exactly this!

[quote name='stingrayPete1977' timestamp='1498046247' post='3322185'] Every room has totally different characteristics, you can't always set up where you want, different band members use different kit to suit the venue size, hollow stage and an empty room or a packed marquee, if it was as easy as you say we wouldn't need a sound crew, just a master volume knob! [/quote] And if you could fix room acoustics (a mostly time domain problem) with EQ (a frequency domain solution), recording studios would need to spend thousands of pounds on fancy acoustic treatment. They could simply slap a 31 band stereo graphic equaliser across the master outputs of the desk.

[quote name='dyerseve' timestamp='1498044014' post='3322161'] If you read the other threads on here about the same seller and same bass it will make sense. [/quote] I had a quick look through the most recent 2 pages of posts and found one other thread relating to a previous eBay listing for this bass, with much the same wording in the description. I still don't get what the problem is. It's not a serious sale listing. And if someone is prepared to pay just under £200k for it then good luck to him.

[quote name='stingrayPete1977' timestamp='1497983620' post='3321812'] Fwiw I'd say keys have it just as bad as us, one song they sound great and cut through just nice, the next one they are just a weird phazey mush. [/quote] I've never got this idea that instruments need to "cut through" the mix. IMO the only things that need to cut through are the lead vocals, and possibly any instrument carrying the main melody of the song when there are no vocals. Everything else should fit together to form a coherent and balanced sound.

[quote name='stingrayPete1977' timestamp='1497983490' post='3321810'] I'd say they are still operating in the frequency area that is easier to get out front to the audience even if it's a horrible sound, I know that's not what you want to hear, you want to point out about mics for guitarists rather than crap Di boxes but that's life, chances are if there's two minutes to spare to run the fx pedals through the foh the guitarist will get them, you might get time for a clean and a dirty each if your lucky, 150 presets that all sound great in the practice room, nah forget it [/quote] If the band has spent the time in the rehearsal room fine-tuning the individual sounds of the instruments, so that they form a coherent mix then all the sound engineer needs to do is make everything louder (if required depending on the overall gig volume). That way any EQ on the desk should be just to compensate for the characteristics of the PA speakers.

[quote name='SH73' timestamp='1498025588' post='3321986'] No it was not. I still have it. It is stored at my parents house.It hasn't been properly used for 25 years. Some idiot who had access to a rehearsal room decided to use it for a disco night without my permission and since it has sounded distorted. I checked the speaker and it seems fine. Might require a little fix but probably will cost more to fix than sell. [/quote] I think EBS_freak post should have had a :-) after it. It was more a comment your (or your device's) inability to spell "Peavey"

[quote name='CameronJ' timestamp='1497946505' post='3321448'] I have. He's got a bidder too. [/quote] So what's the problem? It's obvious from the description, it's not a serious sale. There is a possibility that the seller has had pressure put on them from their partner to get rid of some of their musical "junk" in order to raise some money to buy a house, and this is the seller's humorous response. People can ask what they like from an item on eBay and buyers can pay what they see fit. If something is over-priced it simply won't sell. I don't get the mentality of the Basschat "eBay Police". Have you nothing better to do?

[quote name='dyerseve' timestamp='1498036398' post='3322073'] as I said in my post, ebay charge the fees to your ebay account invoice the moment the auction ends - i know because it happened to me on an item the buyer did not pay on. It wasnt until I opened an unpaid item dispute and that dispute was upheld (14 days IIRC) that I got my final value fee back! [/quote] But IME eBay only bill you at the end of each month for transactions during that period and then it's still another 10 days before they actually take any money off you. So unless you were very unlucky in that the sale took place right at the end of the billing period, any cancelled transition should have been resolved long before eBay take the money out of your account. If I was to sell something between 1st and 30th June, I won't receive an invoice for the final sales fees until the first week in July and the money won't be debited until the middle of July.

To get the best out of your bass you need to experiment with the strings you fit to it. If you like the strings your bass has been supplied with then that's a good starting point. The other thing to remember is that what works on one bass won't necessarily work on another. Every bass (and it's play) is different.

[quote name='stingrayPete1977' timestamp='1497972582' post='3321733'] The way I see it is that a good old fashioned vanilla sound that everyone out front can enjoy is better than a salted caramel with hand twirled toffee sauce that can only be enjoyed by the player and maybe the front row, there's nothing worse than seeing a band with a generic but great bass sound then on the third song he applies "his sound" with the pedal board or whatever never to be heard again Flea is the worst person for it and I presume he and his crew know a thing or two, how a sound guy at a festival is going to keep up with all your patches that he's never heard before with a fifteen minute band change over I'll never know but hey it's "your sound" [/quote] Sound engineers seem to cope perfectly well with the multitude of sounds that guitarists and keyboard players throw at them. What makes the bass so different?

Have you read the description?