BigRedX

[quote name='pete.young' timestamp='1467138165' post='3081464'] I don't doubt you are right BigRedX but some times there just isn't room on some of the stages we play for an extra keyboard and stand, hence the attraction of a pedal. I suppose I could use my V-Accordion as a Midi controller but the image wouldn't fit! [/quote] I'd normally agree, but having seen the size of the average pedal board used to produce synth type sounds from a guitar or bass, I'd say that anything but the largest keyboard would probably take up less room. I'd could look at a small 3-4 octave synth or controller keyboard that could be attached to a mic stand with suitable mounting brackets.

[quote name='rmorris' timestamp='1467112880' post='3081229'] Out of interest what 'special size' is require for a Badass II ? [/quote] Being US-made it will require an Imperial sized key. Best therefore to get a set of 10 metric and 10 Imperial allen keys. Still only about £10 and you'll never need to buy another allen key in your life.

[quote name='PaulGibsonBass' timestamp='1466872555' post='3079504'] I wonder if any of these bands are still active? It's four years since the last post. [/quote] When I posted about my band [url=http://www.dickvenom.com]Dick Venom & The Terrortones[/url], we were less than a year old, although we were already on our second guitarist. At that point we were in the middle of recording our debut single and producing the video to go with it. We were also building a reputation for putting on a great live show and as a result we were starting to get some decent gigs all over the country. 5 years, 6 guitarists and 3 drummers later, we've released 2 singles, a 5-track EP (on cassette) and a full-length LP on Vinyl, CD and download. Here's a track and video from it: http://www.youtube.com/watch?v=hd3DHTwbkJA

[quote name='Tuco' timestamp='1467095171' post='3081069'] Fair comment, I have a Minitaur and indeed it does do everything and more , your right. BUT it's not as much fun as plugging my bass into OC2 - Mastotron - Oxide - MF102 & MF101 controlled with an MP201 then into a CEB3 - TC flashback One love x [/quote] Having spent most of the 80s putting synths through distortion pedals to try and make them sound like guitars and then in the 90s putting bass and guitars through filters and envelope shapers to try and get synth-like sounds out of them, I'm very much of the opinion that it's a question of using the right tools to do the job, and nowadays that for me means if I want synths sounds it's always quicker and easier and the results are more consistent if I use a synth. Besides you can get all sorts of great synths with decent interfaces for not very much money if you go second-hand.

Buy a keyboard synth and spend a week learning some rudimentary keyboard skills. Does everything you can do with a bass and a load of pedals, quicker and more accurately.

[quote name='cybertect' timestamp='1466663360' post='3077605'] If a crap band plays in a forest and there is no-one there to hear them, do they still sound like crap? [/quote] ...but they will probably be better at their next gig because of the extra practice.

[quote name='thegummy' timestamp='1466640410' post='3077564'] Are there people who would claim to be able to hear 2 recordings of one of each fretboard type and be able to tell which is which? [/quote] I'm sure there are. However there are so many variables that how can anyone be sure that the difference in the sound is simply down to the fingerboard material?

[quote name='Kip Kersey' timestamp='1466623328' post='3077386'] Thanks for your thoughts. The only issue in getting a better flight case is the fact that it's such an unusual shape being a Violin Bass. I'll be honest the flight case doesn't look particularly sturdy, having said that i was assured buy the previous owner that the aesthetic damage to the case was caused by British Airways which obviously suggests it's been in the hold of an Airplane at least once. That said, I purchased it from Bob Geldof"s bass player just after said tour but hey I'm just a normal dude flying by a cheap airline. Thanks again. [/quote] The shape of the bass isn't an issue at all. Just get a proper rectangular shaped flight case and have the shape of the bass cut out of the foam lining.

[quote name='AlpherMako5' timestamp='1466621013' post='3077359'] This is great guys, thank you . My next question is this. What difference does the fingerboard make? Maple or Rosewood? This isn't a wind up by the way, I'm genuinely interested [/quote] Sound-wise very little, and IMO any difference in sound between the two is far more to do with the differences in construction and finish of the two types of neck than the material of the fingerboard itself.

At the moment the standard practice is that what is allowed into the cabin is entirely at the discretion of the check-in/cabin crew at the time of the flight. Anything that you may have been told in advance by the airline has absolutely no bearing on what might happen on the day at the check in. If you look well-presented, are polite and your bass is in a gig bag there is a possibility that your bass may be allowed into one of the cabin lockers provided that they aren't already taken up by other things. You will also have an increased chance of getting your bass in the cabin if you are flying business class or better. My advice is as always - don't risk it. Assume the bass will be going in the hold and get a proper flight case for it.

[quote name='eddiehoffmann' timestamp='1466505841' post='3076274'] Anyway... That's besides the point of the topic. He's asking about Jazz or Precision. In my opinion and in my personal experience you can cover any scenario with either of the basses. Just go out and try different ones and get the one you lie best. Or get both! [/quote] I'll settle for neither: [IMG]http://i114.photobucket.com/albums/n249/BigRedX/Dick%20Venom%20In%20The%20Studio/DSC00829_zpsjwjn0abu.jpg[/IMG] This is what I took to my last recording session. The Warwick and the red Gus got the most use.

[quote name='eddiehoffmann' timestamp='1466505606' post='3076270'] Even Daryl Jones borrowed a P Bass to audition for the Stones. I have a feeling he wouldn't have impressed Keith Richards very much if he took some esoteric 6 string out of the gig bag. Even if it sounded amazing. [/quote] I have no idea why he should feel the necessity to do this considering that his predecessor favoured a wide variety of unusual short scale basses. AFAICS the closest Bill Wyman ever got to a P-Bass was the Musicmaster he used for a short while.

[quote name='eddiehoffmann' timestamp='1466459619' post='3076061'] There are better engineered and far better built basses for sure and I even tried some myself. But then you get to a recording session and try everything and what sounds best to everyone is your old reliable P. I guess it's because that's the sound people in general, including producers, engineers and the other band members are used to listen to and associate with the bass guitar. There must be a reason why after so many new designs came over the years still today what you hear in most records is a J or a P or some slight variation of one of the two. [/quote] What a load of bollocks! When recording you should use the bass that you are the most comfortable with. Any decent engineer and producer will be able to get a great sound in the context of the band mix in a matter of minutes, and if they can't you should be sacking them off and getting in someone who can actually do their job.

Not really a fan myself - apart from "How Soon Is Now" which is a fantastic song IMO. What I do with a band that has a back catalogue like The Smiths is to start with their Singles/Best of Compilation and work from there.

What do you find lacking with the current pickups?

Neither suit me. If this was the only choice I'd swap to guitar or synth.

Why do you want to switch? I'm pretty much a Logic user and have been for 20 years now. However my reason for sticking with it has much to do with familiarity rather than feature set. I've dabbled with over DAWs - mostly Cubase - and find that the biggest stumbling block is working out how to do things in an unfamiliar environment. IMO all modern DAWs are much the same when it comes to features and once you've learnt the workflow for one why would you want to go through that process again. The only compelling reason I can see for moving away from Cubase is to get rid of the IMO unprofessional iLock dongle. Otherwise unless there is a particular feature in Logic that you have to have which is missing from Cubase, I'd advise sticking with what you know.

[quote name='Westenra' timestamp='1465858315' post='3071715'] Just curious as I'm looking to do the same thing, what have you found that works best? I'm kind of leaning towards the orangelle from critter and guitari for my synth/sample needs. [/quote] Buy a synth, and learn some rudimentary keyboard technique. You can pick up something like a Nord Lead mk1 for a few hundred pounds which will do everything you could do with effects so much better.

Boschma. Just watch the feet on the bottom as they have a tendency to pop off the screws. Everything else about the case is fantastic. My 6U and its contents case survived being dropped from chest height followed my me falling on top of it.

As well as bass, I've also played guitar and synth in various bands over the years. I see myself first and foremost as a composer who like to play bass.

Looks like I'm going to be the lone voice of dissent then... No matter how unprofessional everyone else acts, as a band you should always do your very best. Don't stoop to the low levels of the promoter and venue, but get up there and play the best gig you can. If you don't play you get to be known as the band that couldn't be bothered to do the gig. It doesn't matter if you are "in the right" this is a battle you can only win by playing the gig. Then chalk it up to experience and have nothing to do with the promoter and venue again.

[quote name='wateroftyne' timestamp='1465904924' post='3071960'] 2. Every band played an original and a cover at each stage. So in addition to what's been seen, we played a cover in the kitchen which is so far unaired, and an original at the gig. You can catch a brief snippet of it from the soundcheck in the show. I have to give cedit to the editors - while songs are obviously massively chopped down, they've worked hard to do as good a job as possible. I think everyone would like to hear more of the songs, especially the original stuff, but the commercial pressures of the modern world wins. [/quote] So the gig was just 2 songs - an original and a cover? That's tough! I can't image how you would go about picking the right cover to play that shows off your band in the best light without being in danger of overshadowing your own songs.

Another interesting episode. I liked the fact that Hooky wasn't afraid to criticise where it was needed, Midge Ure last week was just a little bit too polite IMO. However, Cafferys apart I thought the standard seemed lower than last week. It's very difficult when you only get two snippets of songs to judge the bands, but Kissmet were IMO by far the most interesting band in the rehearsal clip and then they went and blew it by playing an awful cover at the gig. However unless the rest of their set was equally as bad, I thought they should have made it through. The Cadavers had completely upped their game by the time of the big gig - it hardly seemed like the same band on stage from a performance PoV. Pity that on the evidence of the two tracks shown they don't actually have any memorable songs. Since we now have some inside information I'd be interested to know some more details of what the programme makers wanted from the rehearsal and gig clips. WoT I understand if you can't give too much away at this stage, but any answers you can give would be appreciated. 1. The covers thing is interesting. At what stage in the competition did you know that you would be expected to perform a cover? Personally I'm ambiguous about covers. They can be fun to do, but they can also detract from the bands own songs. I certainly don't think that they are an "easy option" - I've played in several bands where we could get a new song written and arranged in much the same time as we could learn a cover well enough to be giggable quality. I've also played in more than one band where we would have struggled to play any song we hadn't written ourselves to a standard where anyone else would have actually recognised it. 2. Have long were the band sets at the gig? On the programme where the audience gets to see half of one song it gives little idea of the overall impact of the bands on a decent stage. 3. The rehearsal clips - whose choice was the rehearsal venue? The band's or the programme makers? Do the Cafferys regularly practice as shown on the programme or was that something just to break up the monotony of endless rehearsal rooms? (most of which looked considerably flashier than the ones I'm used to!) Thanks!

[quote name='discreet' timestamp='1465551525' post='3069132'] Exactly what is it about Barefaced as a company that provokes this kind of criticism when their competitors quietly do their thing (and not as well, imho) without comment on this forum? I don't get it. [/quote] I think it's probably because Alex (and Bill for that matter) had the cheek to tell us that our favourite cabs had been badly designed and that they could do a far better job. Some people don't like being told that. Personally one the reasons I read these forums is to learn. I'll make up my own mind about Barefaced when I get the chance to properly try out some of their cabs in a serious gigging environment.

[quote name='lushuk' timestamp='1465492829' post='3068772'] That would be awesome, thank you On another note (no pun.....) i couldn't find the interview with Donny on how he played it, maybe there somewhere lets see what the Moog can do! [/quote] The interview was back when the single was released so a long time ago and so my memory is fairly hazy as to how it actually functioned, but it appeared that the ribbon controller was doing all the work, and I don't recall him playing any actual notes on the keyboard at the same time although I could well be wrong on that matter. What was obvious was the he was using the full length of the ribbon controller which according to the info I could find about the keyboard is a 3 octave range. The only ribbon controller I've actually used is the one on the Yamaha KX5 which is up to 1 octave each way (2 in total) and has a dead spot in the centre to make it more user friendly for pitch bending, but would completely ruin the effect you need for the Crazy Horses sound.