BassTractor

Hey Andie, Welcome! Nice introduction too. Enjoy! best, bert

Hey Colin, Welcome! Skin bashers is good. They is fun to be with. Enjoy the site! best, bert

Hey Dev, A slightly less unofficial welcome here then. Good to see you were able to post. My take is it's better to leave General Discussion for general discussion, as stated in that section, and rather post Amps&Cabs questions in the Amps&Cabs forum. Not for Forum Nazi reasons, but because: When people later want to do a search after the thread you post, then they are likely to search in the Amps&Cabs forum in the Gear section, and hence will miss it. If instead they do a search on the whole of BC to cover all bases, then the search often finds shitloads of For Sale ads, and this clutters the search results. (Me personally, I keep not understanding why forum owners (not just on here, but everywhere) would put "General Discussion" or "Everything Else" sections near the top of the list, where everyone is gonna post no matter how well though out the structure of te site is.) OK, rant over. Anyway, enjoy the info and the banter! BTW, you're not alone. We have several guys from Ayrshire here. Maybe they'll come to your thread and confess. Oh, and I know nothing of Eden - garden or otherwise. best, bert

Hey Dev, It got posted alright as you saw, but I think you'd be better served if you tried again, starting a new thread in the Amps&Cabs forum in the Gear section. Likely few people are reading this thread here, but many will read the thread titles down there. That said, yes, it's a good idea to connect speakers to the Eden. (Sorry, couldn't resist. ) Oh,and welcome! best, bert

It may have been an RBX270 or too expensive RBX170. Good stuff, and safe buys. Active pre-amps tend to avoid hum, and can boost as well as reduce. Their output is not necessarily higher, even though people often think that. Output impedance would probably be lower. Though there's a huge difference between a large hollow-body and a tiny Steinberger cricket bat, in this case I think size differences with other solid bodies matter less than placement of components, and in that respect, strap length can soon be a very important factor depending on belly size amongst other things. Experiment and learn. Oh, and you need a good amp. In your case an Orange. The model is called Utange.

Short read: Anyone know anything about the Spanish guitar brand Camps? Reportedly (by web and shop) their guitars are good for the price, and they have solid wood in all parts. Long read: Expecting to walk out from the shop with a Yamaha classical guitar like the GC 192C or rather one with a pre-amp like the NCX 700 or the thin NTX 700, I was surprised about how shop personel kept telling how I could save a lot of money and rather buy a Camps. Camps are a total unknown to me, and I seem to struggle to find any good info on ze webz. I was quite charmed by a very thin (70 mm) Camps guitar called NAC-1, which had a light tone with clarity and relatively long sustain whilst retaining sonority - fitting to my purposes, which mainly is learning to play the guitar, and eventually sofa playing of classical music and accompanying the occasional song with guitar strumming. It has a Fishman pre-amp and a cutaway - two capacities I appreciate. Its regular, thick version is the same price, and though it is a better guitar, I will prefer the thin one for ergonomics and ease of handling. The alternative, a thin (90 mm IMS) Yamaha NTX 700 surprisingly left me quite underwhelmed, but I must say that seemed due to bad strings first and foremost. The body did have the will to reverberate. I must guess it's too expensive for shops to put new good strings on every guitar, but boy... The Camps looked technically well-built, but it did have some rough edges (it's an unlacquered guitar, so no lacquer will hide anything) and part of the construction was hidden behind black paint - which is as large an alarm bell as I can find. The nut was of a weird material that I assume must be some form of artificial bone stuff. Sadly it protruded slightly from the neck, but I'm willing to sand that down, or can live with it as it is. Neck and action seemed perfect, fretwork, though not super, seemed more than good enough. I tried hurting myself on the frets's ends as a test, but failed. As said, its sound charmed my socks of, and it was roughly 200 quid cheaper than the NTX. What the cohabitation? BTW, it also plays easier than our Yamaha GC 172C, which I bought like 8 or so years ago, and which I think is a perfectly adequate, good guitar. A guitar that plays easier than that one is good in my book. So for the time being, it seems like a good sounding, well-built but slightly rough instrument. I guess I can live with that. I guess all I'm after is confirmation from you that Camps guitars are a safe buy, and that I'm not likely to see the bridge come off.. or the lid for that matter. Anyone know anything about them?

You're lucky I'm a psychic. It's called something like a Foreda or something. I'd need a picture of your naked girlfriend to extract more detail.

Thanko mucho for posting this which I think gives an good idea about what the 900 is. That said: you bastard made me long even more after the delivery date of mine! Oh, and [b]andyonbass 9/10[/b]

[quote name='Lord Sausage' timestamp='1381694733' post='2242540'] It's the other way for me. It increases my joy! [/quote] Yeah. Trying to be slightly less longwinded than I tend to be, I in fact worded it wrongly. It reduces my joy when I loved the composition to begin with. It increases my joy when I disliked the composition. BTW, I'm not talking about general knowledge of theory. I'm talking about minute analysis of one composition - analysis that would involve writing out the whole composition by ear, then analysing it in its minute details, and writing down a reflection of that analysis. The immense amount of time used on a composition this way, and later "hearing" not my joy but my remembrance of the analysis... that is what ruined it for me. General knowledge of theory did augment my general appreciation for the work of a composer and for certain works, but appreciation is not the same as deep emotional experiences when hearing certain music. I prefer that my ears just hear how great a piece is, rather than that an analysis tells me it is great.

[quote name='RhysP' timestamp='1381686404' post='2242328'] If I was working with a tutor & he said my technical execution needed working on then I'd probably listen to him. If he told me my composition needed working on, and I was perfectly happy with what I was composing, then I would probably ignore him as his thoughts on my compositions would be coloured by his own likes & dislikes. [/quote] In case, I'd guess both tutors have their reasons - reasons they would (should?) be able to verbalise. If my playing tutor says my technique needs working on, he'll also tell me what aspects of it as well as how I should work on them. The composition tutor would do the same, explaining what choices I've made and how they will work on the audience. As a simple example, finishing the song with a IV - I is not very rock 'n' roll, but could fit perfectly in old style church music. So if I use a IV - I in a rock song, the tutor could call this a weak change, not meaning it is bad, but meaning it has a weak type of character - call it soft if you want. I could still keep it as it is, and might have good reasons for it (rational or musically emotional), but at least I'd be slightly more in the know than the minute before. This hooks in on the eternal debate about how much of a composition is subject to analysis and criticism, and how much of it is beyond that realm. I've stated before here on BC that many people will be surprised about how much of a composition in fact is quantifiable, analyseable and the subject to reasoned evaluation. Don't take me wrong: I don't like analysis. Knowing the inner workings of a great composition reduces my joy over it. That dislike however, does not mean that analysis is not a tool. My composition teacher would have to use it as a tool to even start commenting on my choices.

Good going, John! Practice amps will never go out of style, even when they're top makes. ;-) Have they told you what model that bass is?

Just as a side remark, as I don't have an opinion: before "In Rainbows" was released on CD, Thom Yorke mentioned in an interview that the revenue of the downloads and the pre-ordered box set together were such that the band had made considerably more money on this direct sale than they'd made totally with any previous album distributed the regular way. I know what he said, but don't know whether he spaketh truthe.

At 12.58 AM, Lowender posted this: [quote name='Lowender' timestamp='1381618698' post='2241580'] You're probably right. [/quote] At 01:49 AM, Lowender changed this into: [quote name='Lowender' timestamp='1381618698' post='2241580'] You're probably right. But that's just YOUR opinion. : ) Tell you what, since you're familiar with the piece and the players execution was so void of musicality, record 16 bars of it yourself and let everyone hear how it REALLY should be done. I'll look forward to that -- as I'm sure everyone else will as well. [/quote] At 04:51 (edited 04:52 AM), Lowender followed up with: [quote name='Lowender' timestamp='1381632705' post='2241666'] I'm offering him the chance to back up his big words. So far...nothing. [/quote] This is really all the data we need to have. Our brains can do the rest of the legwork... However, just to humour Lowender just slightly: [quote name='Lowender' timestamp='1381632705' post='2241666'] I assume this gentleman is a musician and is claiming the musician in question is inferior. And doing so imperiously. If one makes that claim, I think they should be able to back it up. I said in a previous post I could copy Victors part in that song. And I didn't say it was crap. Bass Tractor is pulling a pure puss move -- attempting to bully me by accusing me of being a bully -- when all I did was state an opinion and never...NEVER did I attack anyone here. Bass Tractor however feels entitled to call me names. It's lame. It's weak. And I'm not buying it. I think he needs to take a deep look at himself and try to understand what his issues might be that makes him so insecure. At any rate, I'm offering him the chance to back up his big words. So far...nothing. [/quote] As written before, initially it would be far from me to criticise that performance. I understand and appreciate the context as well as the attempt. I understand the technical requirements to the player. Had I been in the audience, I would have been smiling from ear to ear, and would applaud this with warmth ("warmth" should be in the dictionary, btw, just like "coldth" and "calmth"). However, the clip was used as an example of a type of greatness that would put VW in the shadow. Now, while I do not specifically appreciate VW, or know his work for that matter, the greatness claim was followed by a claim about this performance's musicality. This is where I disagreed, first politely and calmly, and avoiding a discussion of Lowender's way of behaving on an open forum. Then stuff happened, and I felt the need to up it a notch, still trying to avoid a discussion on Lowender, but it was getting very hard at that point, as Lowender virtually pushes his opponents into certain areas. Then more stuff happened, and I felt the bullying (specifically the claim that xilddx lacks Lowender's exquisite capabilities in the ears department) needed to be met. OK. Now for part 2. I do not think my insecurity is the issue here. Not that I do not have insecurities, but I'm always quite open and simplistic about them. I may be lame and weak and all kinds of other ugly things, but all of that would not change the way Lowender tries to rule this thread. As to me being a musician, for reference and clarity purposes, I told about my musical background in my second post in this thread. Yes, I was once a musician, at a semi-international level and within classical and new classical music. Yes, I did teach in music college. I never claim that I am right because of that background, as I'm far too intelligent to say such a stupid thing, but I am sometimes telling people this so they are aware where my texts may stem from. As a bassist, I'm just a noob who can't manage to play something like "Take a Pebble" or other ELP related stuff. This inability however does not guarantee that I am deaf. You know what? It's now 15:40 PM (yes, I know), and ... so far ... nothing! [quote name='Skol303' timestamp='1381662875' post='2241887'] Let's try to keep the opinions here focused on musicianship rather than each other, eh? [...] let's allow a little room for differences of opinion. [/quote] Looking at the whole thread an how it was developing, I disagree, but I will respect your wish and will try to follow that lead. To do that, I could also edit my previous posts, but since that would put others' reaction in a strange light, I think it's best if the posts are left alone.

Thanks for posting that. I'd almost forgotten that lot totally. Went after it right away on iTunes, only to find out Minnie Riperton is on that record, showing a quite different side than on her "Lovin' You" from some years later.

[quote name='JapanAxe' timestamp='1381336848' post='2237840'] What about using it in a good mood at home!? [/quote] That remark needs to be pinned somewhere. This novel concept has great promise! I'm telling ya! BTW, just ordered a 900 myself, and will try and report when I'm in a good mood. May take a while though.

Welcome, Remy! Good luck with the cab hunt, and enjoy the site. best, bert

[quote name='grayn' timestamp='1381494924' post='2239842'] they only seem to come up, just after I've just blown my cash on something else. [/quote] Not true. In fact they only come up after you have posted here that you've blown your cash. So now you should know the drill: save up money like Hull, then write a post on here, and LIE THROUGH YOUR TEETH!!!! Good luck! You'll have that bass in no time.

[quote name='Lowender' timestamp='1381587956' post='2241049'] But to say it's just rubbish or the the guy can't play or it's unmusical -- that's just absurd. [/quote] No, it is not absurd. In case it's an opinon that you do not share. I'm getting the suspicion that the term "a musical performance" simply is understood by you in a different way than it's understood by some others here. In case: many people, myself included, understand it to be a performance that manages to convey something about the composition that is deeper than just the notes. This conveying is normally achieved by choices in micro-timing, tone length, tone volume and sound. The performance in question hardly contains these chosen elements - and certainly no micro-timing. The timing is not governed by the player's musical choices, but by the fingers' lack of ability to reach the frets and string in time. Thus, this is an example of a non-musical performance in that sense. In the unlikely case that the timing in this performance is the player's choice, then he simply is not a very musically gifted person - or rather: he then is virtually music deaf. If you, after this explanation, still maintain that this performance is musical in that sense, then the sad news is that you are not a very musically gifted person, which is quite OK, mind, but it should in case teach you to not attack people on here (like you did with xilddx) for their inability to hear what you hear. In case it's soooo very much the other way round, and I am indeed sorry to feel forced to write this. No joy here. Just a combination of sadness and the will to not allow you to bully us with your unintelligent and uninformed, sweeping statements. Sadly, this thread is very much not the first time you take exactly the same role: of someone who will do anything to not allow other people to provide some correction on your ill-advised "opinions".

Let me be a little clearer then, since I seem to be one of the very unmusical ones who have a grudge against able people *) , and who also have terrible other capacities - as so eloquantly worded by Lowender. I would never ciriticise the playing of the bassist in the OP if his contribution was not used as an example of greatness. Initially, for me, he's just another bloke on a stage performing some music to the best of his abilities - nothing to get overtly critical about. Just like him, I too can be just a bloke on some stage playing some notes to the best of my abilities. Nothing to get worked up about either. However, the OP is what the OP is, and it strongly invites people to respond - whether this be Lowender's wish or not. People responded honestly, and from there it went downwards terribly fast and terribly unnecessary, becoming another sad example of what forum threads can grow into. OK, here goes then: The bassist in the OP already ruins the piece during the first 16 seconds. His timing is uncontrolled, amateuristic and flat. As a result it becomes musicality-defying. From there, the piece only goes downwards. There, I said it. The songs he plays for the most part are NOT free timing stuff. They're quite romantic small pieces with their own harmonic, melodic and rhythmic drive. The bass player lets the audience wait for musical information while he gets his fingers to the right places. Now while he may be a very musical person and a great bassist, in this exact performance things go terribly wrong because the musical drive is victimised on the bass w***ing shrine. Someone get me a ladder! *) For reference and clarity: I'm a classical composer and organist, and have taught electronic music at music college. While I think this makes for me not having a grudge against able people, it does probably in part disabilitate me as a judge of solo bass versions of old prog songs, since the rock world embraces stuff that the classical world tends to look upon as amateuristic, but I still do love both ELP and the Sex Pistols.

Welcome, Rodma, end enjoy being an ex-lurker! bert

[quote name='Truckstop' timestamp='1381309935' post='2237202'] 2) Musicman Stingray 5. Too light, IMO shoddily put together, blemishes in the finish, weak output and generally felt a bit toy-like. I really don't know why I didn't get on with it but it just felt alien to play; it was a single H version and was impossible to play comfortably. The body was too big and I couldn't get set on it no matter the strap height and sitting with it caused my right wrist to cramp after 5 minutes of playing. Dreadful thing. Vastly overrated in my opinion. I sold it making a profit of £200 so it wasn't all bad I suppose. [/quote] Bloody nonsense! Do you even know anything about basses? I made a profit of £600 on mine!!! Seriously though, I didn't expect too much from the StingRay 5 when ordering it unseen, but was totally blown away by it. It's easily my best or second best bass, and I think I got some good ones. I don't know whether this shows I'm a noob (which I am), or the production quality is unstable (which seems weird, seeing most comments on them) or people are just soo very different.

I don't mind the sound. It may not be the best ever, but I don't mind. I do know the stuff he plays - intimately - and do love it in its original form. I do like the bass as a solo instrument. However, this was simply terribly poorly executed. Any musical sense that this guy may have did not come across. The best case scenario is that he simply can't play what he wants to play, but sadly there's a good chance that he actually thinks that a poor attempt is just as good as succeeding. Well, I've got news for this guy: it is not. [b]Convey music, not "ability"![/b]

Welcome, Dean! Put up some pics!!! ;-) Enjoy! bert

Welcome, John! From my experience, all of those are safe buys with the exception of the GSR 180, which should be checked before buying. Others may know better. Enjoy! bert

Yeah, ain't it grand what a little money will buy these days? Things surely have developed from the days we couldn't afford a lousy Carlsbro amp. From BC, I think I've learned that chances for a quality bass being cheap are better than those for a quality amp, so as a rule one would do best to save on the bass rather than on the amp, but of course this does depend on price range too. Though: I (soon) have this combination of great Yamaha RBX170 bass (175 quid) and great Harley Benton 110W combo with built in effects (75 quid) and some other bits 'n' pieces, totalling well below 300 quid new from the shop, so everything is possible.