molan

I stepped in as a dep sound engineer for the evening and the regular engineer lent the band his Yamaha 01V digital desk, a bloody great stack of effects & equalisers, compressors etc & lights with a Martin controller. He said he'd label up all the interconnects so they'd be really easy to use and that the desk was very intuitive to use. Once we arrived and got all the stuff out we discovered about a zillion leads with massively ambiguous labelling. Managed to get the hang of the desk and got all the incoming feeds working into my monitor headphones. However, try as we might we could only get a single feed out to one channel of the monitors. No FoH, sod all volume from the single monitor that worked and nothing feeding into the stupidly complex lighting controller. 6 of us tried just about every combination but got absolutely nowhere. Luckily there was a support act that had a good old fashioned Yamaha analogue powered desk. Took me about 5 minutes to get it up & running with a nice FoH sound & two monitor mixes. No eq on the monitors so volume was a bit of a problem but FoH sounded fine. The the bloody monitors blew - pretty sure they had fuses in them & the pair went simultaneously midway through the second set. They really weren't all that loud because of the full range signal they were getting. Because the support act also had a pair of FoH speakers I managed to rig these up as side fills from the monitor mix and got a decent on stage sound. Anyway - the point of this rant is that the band only ever play small venues and a simple analogue desk with on-board effects & maybe a pair of 'set em & forget em' graphics is easily enough for sort of gigs they get. A basic set of coloured PAR cans would be fine as well. So why does the sound guy have this huge array of equipment - apparently he often has problems with things crashing, especially the lighting controller. It must take 2-3 times as long to set it all up & break down again as well. . .

[quote name='fingerz' post='901847' date='Jul 22 2010, 01:19 PM']Molan, that blue one looks very nice! Why are you selling it?!![/quote] It's lovely Only selling because it's near identical to my red one and I didn't think I needed two basses so similar. It's lighter in weight and just a fraction 'softer' in sound. I actually marginally prefer the core sound of the blue but the red wins for me in the colour stakes - purely subjective stuff of course. Build quality across the two is so consistent that you couldn't tell them apart if you played them blindfolded

I really love my Sadowsky Will Lee J bass and vaguely thought about looking out for a nice NYC P to go with it. Had a look around a few places and the most common configuration for a Sadowsky P seems to have a J pickup as well. I don't have anything against the PJ idea but quite fancied a simple traditional single P pickup. So - just wondered if anyone had ever played one or knew much about them. Maybe there's something in the basic makeup of the classic Sadowsky sound that really needs that bridge pickup to make it sing?

Nice one Mike, That looks like a big old Trace cab in the background - not your usual rig?

[quote name='Flanker' post='901648' date='Jul 22 2010, 09:39 AM']There's a picture of Fingerz Celinder further up this page! Now which one is it ????? ( Offer still stands I'll give you £250.00 for your Japanese Jazz!!!) [/quote] Ah ha - I'm guessing the natural one

[quote name='fingerz' post='901181' date='Jul 21 2010, 07:05 PM']I'm now a Celinder owner! Have a 5 string J update. As someone who found a Fender Jazz bass and fell in love with that 'thing', I've been after a 5 that floats the boat for ages... This thing has amazed me. All the growl I could want, not too clean, and the mass of maple in the neck makes it so stable. I've owned other high end 5's and the b string often seems to dominate the neck tension (if you know what I mean) and pull the neck about... My celinder goes straight as anything and plays like butter. Like my very well set up jazz bass. I've wanted one for ages, now I have this thing I feel I can forget about the instrument and concentrate on the playing. I didn't want to show off, but my girlfriend is getting sick of my rantings and doesn't understand a word of it!![/quote] Excellent news Where are the pics! I love my Celinder & it's very much my 'reference' bass whenever I try out something new. I have a pair at the moment which is hogging things a little so decided to sell the more recent of the two, a very nice trans blue J Update - having parted somewhat tearfully it's up at BassGear now: [url="http://www.bassgear.co.uk/products-page/pre-owned/celinder-j-update-4-pre-owned/"]http://www.bassgear.co.uk/products-page/pr...te-4-pre-owned/[/url]

Whenever I hear the terms 'improv', with regards to music, my mind immediately drifts to Spinal Tap's Jazz odyssey

[quote name='Born 2B Mild' post='900144' date='Jul 20 2010, 03:21 PM']Stratocaster? I thought he was strictly a tele man [/quote] It was his signature Strat - designed to sound like a Tele but with Strat versatility! Here's the original Fender owner's manual that explains some of the complex wiring stuff: [url="http://support.fender.com/manuals/instr_owners/Hellecasters_Jerry_Donohue_Stratocaster_1997.pdf"]http://support.fender.com/manuals/instr_ow...caster_1997.pdf[/url] & here's a pic of him playing one:

Always liked this bass line, also one of Bluey's funkiest guitar parts when played live, usually a bit faster than the studio version: Edit - I much prefer the studio version, just put this here to show how quick they play it live! Also - I think my fave Incognito bass line is this:

Last time I met him was when I bought his Signature Fender Stratocaster off him. It was the original prototype had serial #0001 on the headstock! Had various features that didn't make it to the final Japanese production model as well. I'd actually paid for a production model but it turned out that it was on its way to Guitarist for review so Jerry, being a complete gentleman, offered me his personal one instead. He also signed the reverse of the headstock for me. The guy from Arbiter (or whoever the distributor was at the time) told me to leave the building very quickly before Jerry realised quite what he'd done Somewhat foolishly I lent it to a good friend who is a great fingerpicking & blue grass player who fell in love with it & begged me to sell it to him. I let him have have it with the provisio that if he ever sold it then he'd give me half the profit, lol. I've asked him for it back a few times but he still loves it. . .

[quote name='Pete Academy' post='899391' date='Jul 19 2010, 08:48 PM']I seriously think he belongs there amongst the elite of musical geniuses. His bass parts were way ahead of what anyone else was doing at the time. For me, it's always 'What's Goin' On', and the story behind it's conception - myth or not - is fascinating.[/quote] This one. . . [url="http://www.youtube.com/watch?v=KqtELR5GyfI"]http://www.youtube.com/watch?v=KqtELR5GyfI[/url]

[quote name='bubinga5' post='899382' date='Jul 19 2010, 08:44 PM'] there is nothing wasted with his bass lines, nothing that shouldnt be there..every note has something to offer[/quote] I love sone of the solo'd stuff on YouTube too - I can happily sit & listen to an entire album of Jamerson solo'd, lol. The Wilton Felder solo'd I want You Back is great too - although it doesn't quite have the fluidity of JJ? [url="http://www.youtube.com/watch?v=z91l_lPz1oc&feature=related"]http://www.youtube.com/watch?v=z91l_lPz1oc...feature=related[/url]

[quote name='bubinga5' post='899305' date='Jul 19 2010, 07:29 PM']well i thought he bumbles alot. seriously yeah love his playing..Stevie's "I was made to love her" is sublime playing...just wow oh you tube again.. [url="http://www.youtube.com/watch?v=9pYux5-d1Es"]http://www.youtube.com/watch?v=9pYux5-d1Es[/url][/quote] My all time favourite Jamerson line. This is amazing too: [url="http://www.youtube.com/watch?v=ND-iW51idC0"]http://www.youtube.com/watch?v=ND-iW51idC0[/url]

[quote name='alanbass1' post='899352' date='Jul 19 2010, 08:17 PM']Hey Molan, I understand what you are saying as the TC amps are opposite to the Markbass 'super fast/hi'fi' presentation, which is why I have kept my MB gear. However, the MB gear I have is not getting any use as I really do like the thicker and (slightly) more old school presentation I get with the RH450. As always, it really is a case that people need to try these things before buying, although this will never really give you a view of how they behave in a gig situation.[/quote] Totally agree about the gigging stuff - I gigged with my RH450 head & really didn't like the on-stage sound at all but the sound engineer said it sounded great out front (I wasn't in the PA). Unfortunately liking the sound of my own bass on stage is quite important to me, lol. It's amazing that something so 'modern' and hi-tech can deliver such a classic bass sound though. For anyone after that sort of tone then it's a killer head

[quote name='morsefull' post='898155' date='Jul 18 2010, 04:15 PM']This is a great youtube cover, [url="http://www.youtube.com/watch?v=d_KKrmUzhyY&NR=1"]http://www.youtube.com/watch?v=d_KKrmUzhyY&NR=1[/url] It really helped me with my fingering. Fabulous technique,so smooth it's almost effortless. [/quote] Simon's is my favourite version too - in fact, so much so that I bought the very Overwater it was played on! Much prefer the single to the album I have to say. However I'd never listened to the album one until today so it may just be that I have the single one in my head as the 'right' way to play it. . .

I hate to be a downer on the TC love but their stuff just isn't working for me. Just doesn't have the clarity and 'sparkle' I want - shame as I really, really wanted to like this setup There may well be an RH450 + RS212 + RS210 stack up for sale very soon. . .

i have the Sadowsky and it's great little unit - I sometimes use it to bypass the nasty cheap Ashdown amps that a lot of rehearsal rooms seem to have It was discontinued a few years back in favour of the floor mounted pedal. They pop up on Ebay from time to time though.

Lyn Collins anyone? I recently bought Mama Feelgood (cost me a massive £1.93 on Amazon as I had a £2 voucher from a recent book purchase!). It's full of great classic funky grooves Here's one of my initial favourites: [url="http://www.youtube.com/watch?v=Z_cTV2P9oWo"]http://www.youtube.com/watch?v=Z_cTV2P9oWo[/url] The version I have is a couple of minutes longer but this gives a good feel for her.

How about the [url="http://www.jerzydrozdbasses.com/ultimate-guide-to-perfect-bass-setup.html"]Jerzy Drozd Guide[/url] You have to sign up for the newsletter but the guide is 60 pages or so of useful stuff & it passes the 'free' test too

I always talk to Beaver If I were you I'd head over to TalkBass and ask there. I did this once for bass shops around Washington and got lots of good suggestions.

I was a huge fan of Man back in the 70's. Micky Jones was always my favourite guitarist and such a great live player. Saw them a few times over the years and they were still great up to a few years ago when Micky first fell I'll. I'm at the airport now and have a feeling that Rhinos and Winos might get an airing on the flight home