Prunesquallor

[quote name='rogerstodge' timestamp='1363644224' post='2015337'] Yep.. At the O2, never seen them before [/quote] Ditto. I agree that Clockwork Angels is crap, and they're probably going to do ALL of it. But they're also going to do the whole of 2112 and lots of other old stuff. And this may be the last time they tour like this. Neil Peart's apparently finding it hard to do 3-hour sets these days.

She has talent in spades. This keeps getting taken down, but we'll see how long this link lasts: http://www.youtube.com/watch?v=X2eOd4OcbFs

[quote name='VTypeV4' timestamp='1363309319' post='2011536']I think Ric should sort their own issues with QC with the top flight models and much like Fender, Gibson etc, bring their own budget models to better compete in that market.. [/quote] Totally! I've some sympathy with protection of copyright and so on, but their attitude is over the top. Bullying private sellers? Seriously? A Rickenbacker IS part of my future, but the company's not getting any of my money. There's plenty of second-hand basses out there.

There's a lot on here about musicians and the record industry being somehow separate. It appears to have slipped some peoples' minds that a lot of artists own their own labels. Musicians ARE the industry in many cases. Here's what Michael Gira of the Swans has to say about his label now: "It’s unsustainable. And in fact, I’m very proud of what I’ve done with Young God Records, helping people like Devandra Banhart and Akron/Family and James Blackshaw. Helping all these people either gain or expand upon an audience and really investing thousands of dollars and hundreds of hours working with them. Helping produce their records in many cases. Five years ago I could sustain it. I was getting paid for it so I could live and do the work that God meant me to do. But now, at this point, I’m not continuing the label because there’s no money. I can’t do it. So the people who are on the label right now I’m continuing to work with, but I won’t help anybody else. I won’t bring anybody else into the label because it doesn’t pay anymore."

[quote name='RockfordStone' timestamp='1361111081' post='1981147']how is me downloading an mp3 any different form me recording a song from the radio onto my cassette deck... which we wall used to do in the olden days. [/quote] Quite a bit. Home-recorded cassettes were sh*t in quality, and rapidly deteriorated. Also, you never got all of the song because the DJ talked over the beginning/end of it. If you really liked it, you had to buy it. Now you can download all of an artist's discography in high quality while you make the tea. Same as taping an album for a mate: 90 minutes of slavishly watching over the VU meter for ONE inferior copy. That's a big difference from uploading a CD instantly for everyone to take perfect copies from.

The argument that really grates with me when I point out musicians are losing money, "But they're artists. It's their vocation!" In other words, if you really enjoy your job you should do it for free for the service of others. PS: And when I point out that bands like Shpongle can sell out the Roundhouse and just break even, that kind of destroys the "well, they should just go out and play live" argument, but it still gets bandied around too much.

I admire Jaco for his technical virtuosismozzle, but this track was the one that really made me think that a fretless was usable, for me: http://www.youtube.com/watch?v=aeUWJbs9Q5E

[quote name='krysh' timestamp='1356828905' post='1914191'] I only wonder nobody mentioned the stones yet. :ph34r:hut seriously.... [/quote] Well, wasn't it Keith Richards and a session guy, Willie Weeks, who played bass on a lot of tracks? So even the Stones didn't think he was that good.

[quote name='White Cloud' timestamp='1356212988' post='1908139'] Lol, yes a reasonable observation. I would however point out that anyone from the lady Gaga era has a bit of a cheek criticising Rick Astley [/quote] As someone who endured the 80s as a schoolkid, I can authoritively report that - with few exceptions - there was nothing decent to listen to in that decade until the Smiths arrived (1985?). The 90s were sooo much better. This is fact, not opinion.

Very classy!

I recently bought a Malekko pedal from Liam. It arrived quickly, well packaged and as described. Recommended seller.

[quote name='Bill-R' timestamp='1355443874' post='1898611'] Jack Bruce Cream Paul McCartney Beatles Lemmy Hawkwind and Mortorhead James Jamerson Motown Andy Frazer Free [/quote] Lemmy wasn't Hawkwind's first bassist - though they weren't nearly as good before or after - but I concede he may have been Motorhead's first.

[quote name='Musicman20' timestamp='1353858290' post='1879027']...and even though I'm a Musicman nut, I'm expecting that your range in stock is 4 string H or HH Stingrays in Black. I'd suggest getting some of the rarer modern models as well, and some 5 strings models. Heck, even a 6 string Bongo HS as the guy from Dream Theatre seems to be adverstising them well. So, it'd be good to see: A proper USA made Musicman Sterling (maybe a 5 string in HH or HS) 5 strings Stingray 4 and 5 string Bongo's An SSS Big Al Reflex/Gamechanger (HH probably the most popular) [/quote] Yup. And if you're going to get Sandbergs, it would be great to have a shop stocking Basics as well as California models.

Lemmy (not so much Motorhead, as Hawkwind's Space Ritual), Geddy Lee, Flea, Bernard Edwards, Tom Jenkinson (Squarepusher).

[quote name='LukeFRC' timestamp='1355219945' post='1895418'] best user name I've seen for ages. Thank you [/quote] Thank YOU!

[quote name='Dingus' timestamp='1355165090' post='1894918'] Graphite -necked basses as a rule have a very noticeably more even note response than wooden necked basses . There is a technical reason for this , known as the "Q" factor , which refers the the frequencies at which the neck vibrates sympathetically with the note being played . Essentially , when the note and the neck vibrate at the same frequency the two matching vibrations cancel each other out causing the note to be noticeably quieter , or a "dead spot " as it is often referred to . Old Fenders are particulaly prone to this On a graphite neck the greater rigidity means that the neck vibrates at a far higher frequency , out of the range of the notes on the bass guitar and so all the notes ring out far more evenly than on a wooden necked bass . Indeed , the reason Leo Fender changed the shape of the headstock and came up with the 3+1 tuning peg arrangement when he designed the Stingray was to try and change the resonant frequency of the neck and get rid of what he percieved to be a dead spot at the fifth fret on the E string . [/quote] Interesting. Thanks!

[quote name='Dingus' timestamp='1355161141' post='1894844']To me they sound very similar , so you can see why he made the switch : To my ears the Modulus is a little deeper and has that graphite clarity , but they definitely sound more similar than they do different.[/quote] Do you know if Moduluses (Moduli?) indeed have a more even note output than Stingrays, answering Flea's pet peeve?

[quote name='Dingus' timestamp='1355142765' post='1894497'] He was using different basses for recording even while he was using the Stingray as his main bass , first a Spector in the late 1980s , and then most of Blood Sugar Sex Magic is played on a Wal . Not long after that he abandoned Stingrays altogether . [/quote] Exactly my point. Although he didn't like using Stingrays in the studio, he used them live because he liked the tone. But when he found the Modulus he didn't need the Stingrays for live use either.

[quote name='Musicman20' timestamp='1355134178' post='1894361']But, he still sounds better to me on Ray or the Modulus. Perhaps the Alembic. He sounds great on a Jazz because its Flea, but it doesn't sound as good, IMO.[/quote] Absolutely! He's a big inspiration for me as well, and his Fender tone does nothing for me. A Musicman bass is also likely to be my next one. However, it's not tone we're talking about, it's the quality of the instrument, and he - personally - didn't seem to be happy with the Stingray. He did seem to be saying that he preferred the tone of the Stingray in that interview. It was the uneven output that was driving him crazy. He also prefers to tour with the Modulus to either of them.

[quote name='Dingus' timestamp='1355114315' post='1894225']The truth is that he stopped using Stingrays because the necks kept shifting so much that he got fed up with them and looked for something a bit more stable.[/quote] There was more to it than the necks, I think. Here's what he had to say after the recording of One Hot Minute: "[font="Verdana, Arial, Helvetica, sans-serif"][size="2"][font="Verdana, Arial, Helvetica, sans-serif"][size="2"][size="1"][size="2"][size="3"][size="2"]The Alembic isn't as in-my-face as the Music Man, but the high notes are as loud as the low ones, from the bottom of the neck to the top, which is a problem on the Music Man. I probably could have used the StingRay for the entire album, but [b]when we go to record, I always think I need the best bass for recording[/b].[/size][/size][/size][/size][/size][/font][/size][/font]" [My bold] In other words, he likes the tone of the Stingray, but thinks the instrument isn't up to spec for recording, whereas the Alembic was. The Modulus was probably better FOR HIM in that respect as well (and Spectors, and Wals...) As for Fenders vs Stingrays, he's using vintage Fenders in the studio now. YMMV

One of these: http://www.zoom.co.jp/products/b3 All the cool kids are using them.

No mention of Derek Forbes yet? Simple Minds - in their most creative phase, when John Peel used to gush about them - just wouldn't have been the same without his basslines pushed up front of the mix. With their later arena stuff, it could've been anybody.

Gorgeous colour! I always thought Rickies should be black, but that has changed my mind. What're the necks like on these new models? Thin?

[quote name='Herbie The Rad Dorklift' timestamp='1354105429' post='1882059']Yeah it's got a coil tap for both pickups. My other Sandberg has a coil tap for each pick up too.[/quote] Hmm... How well do they do the passive Jazz sound?