Sean

[quote name='toneknob' timestamp='1402135985' post='2470295'] I'd put in a contingency between each guitarist to send one off before the next one arrives. Then you get a little discussion/note taking/sobbing time between each, and less chance for awkward "oh hi yeah just wait a sec while the previous guy packs up" moments. [/quote] Cool. How about emailing them today to let them know to wait in their car until the previous guy has left? Is that reasonable?

[quote name='Gareth Hughes' timestamp='1402135891' post='2470294'] In all seriousness - after you've worked through the four songs you've asked them to learn, how about presenting an idea (that you as a band may have worked on already) and seeing what they can add to it? [/quote] Nice idea. We've got a couple of unfinished things knocking around. Our drummer suggested a two chord funk thing that we've been working on just to see how the cope with something different.

Hi All My band is auditioning guitarists tomorrow and although we have a pretty good idea of what we're doing and what we're looking for some advice from others can make a difference. We're an originals rock band with ten songs already written and demos recorded with other guitarists. We've got a good village hall booked with easy-in, easy-out loading, a good sound for recording the sessions and we've arranged the auditions in slots. Each auditioning guitarist has been given four original songs to learn and the brief was to put their own style on them. They don't necessarily have to learn all four but should know enough material so that we can play the original material and we can all decide whether it works and if there is chemistry. Each guitarist will then play the songs along with the rest of the band and we'll be looking for who we feel is the best fit and who has a playing style that we like. We're also looking for someone that we get on with but realise that it is not necessarily easy in just an hour or so to decide whether someone is a perfect match. We're also very aware that we are also being auditioned by each guitarist so I will be having a bath tonight and ironing my t-shirt in readiness. The singer and I are early 40s, the drummer is 28 and we are all very committed and driven albeit with day jobs and families. The goal of the band is to play the smaller originals festivals, support slots nationally and to record original material. It's not ever going to be a touring band but hopefully about as professional as an originals band can be with the constraints of it being a weekend warrior arrangement. We'll be helping with unloading and moving gear should it should speed up setup times. This is the schedule for tomorrow. 11:00 - 12:00 Drummer, Singer and I turn up and set up and run through the plan, have a cup of tea, make sure we're on the case 12:00 - 13:15 first guitarist audition including setup, breakdown 13:15 - 14:30 second guitarist 14:30 - 14:45 tea break 14:45 - 16:00 third guitarist 16:00 - 17:15 fourth guitarist 17:15 - 1830 Drummer, Singer and I pack up and discuss, have a cup of tea, hopefully make decision What have we missed? What experience has anyone got that they could pass on? Should one of us (not the drummer, obviously) take notes so we don't forget stuff? Someone suggested taking photos of them to aide discussion later but would that give the wrong impression, it's not a beauty contest? And moreover, I'd feel like a tw@t doing that. Are there any sort of standard audition questions that we should be asking to gauge their commitment level? Any help gladly taken on board. Thanks for reading.

[quote name='RockinRelic' timestamp='1402067491' post='2469762'] I live in the USA and bought one from a store in Germany last month -- purely for the surf green color. I couldn't find one anywhere in the states. It arrived within a few weeks, and it was in pretty good shape out of the box. First thing I did was turn the truss rod to correct the neck bow. I did mods on it, including Bartolini pickups and a Gotoh bridge. I also replaced the stock strings. My luthier (who can turn a log into a Stradivarius) worked on it and I did further work filing the fret ends smooth. I also painted the head stock to match the body. It now plays with the best of my other basses. I use it professionally in a surf band. I couldn't happier with the sound and joy of playing it. Amazing. Bottom line, the J&D bass is an amazing value for the money, and with a little work, it can be your main rig. [/quote] Photos please!

Disappointing. I was thinking of buying a P to put in my BBingray. Best zombie thread in ages though :-)

[quote name='Classic69' timestamp='1401551053' post='2464676'] Back to bass- That cabinet demonstrates British craftsmanship, the details and care taken in it's build. And it sounds HEAVy, which btw it is not! Only 41 USA lbs, not sure of how many kilos that is! [/quote] We do lbs too! We drive in miles but fuel our cars in litres and then measure the efficiency in miles/gallon but remember our gallons are 4.54 litres whereas yours are 3.8 but that's because your pint is 16 fl.oz whereas our is 20 fl.oz. When we weigh ourselves we don't use lbs like you guys or kg like the Europeans, we have Stones and lbs so I'm 13st 11lb which is, uh, too much :-) One thing that everybody else measures that we don't is the area of our homes, we have no idea what you mean when you say, "my condominium is 1250 sq.ft", we just have no frame of reference. I nearly bought a CMT-100 myself, came very close indeed. I'll be interested to hear what you make of it :-)

You can see all the castles and palaces on line without having to leave your bed and you can download and photoshop much better shots than you'll ever take yourself but for all the man stuff you have to actually go there. I would have reached a compromise: she stays at home and surfs the net while you go to the UK and visit bass places :-D

Oh! No problem. The local accents and dialects in the UK change massively over distances as short as ten miles so you're excused. :-) We get a bigger difference in 30 miles than you guys get between Virginia and Massachusetts.

I don't get the SHORE thing. Anyway, congrats on your new baby.

I played bass in a Blues Brothers tribute with a great bunch of people, awesome (bonkers) drummer and loved every minute of playing the music and gigging. I learned loads about gigging, emulating styles, working with people I normally would not etc etc etc Dump your prejudices and get tributing!

[quote name='dannybuoy' timestamp='1401311864' post='2462446'] Yet have different model numbers and prices! ...? [/quote] Maybe. Don't be smug about it...

Don't kid yourself that the differences are few. One is mass produced, the other hand built by a master luthier in Yamaha's custom shop in Japan. It's not just wood treatments that differentiate the two ranges. There's a world of difference and it's outlined and detailed in a few threads. Hand selected woods, better species of wood, high quality paint finish, better fret job etc. The BB202x basses are absolutely exquisite pieces of kit and are built to extremely high standards and are at least the equivalent of Sadowsky, Masterbuilt Fender, Sei etc. my two are the best instruments I've ever played bar none. They're also very good value for what they are and mega-bargains used. The BB102x basses are excellent mid-priced instruments and compare well with Lakland Skyline series and similar. Nice instruments but wouldn't pass the blindfold test.

Yes, they are the same pickups.

I thought they were £200 for the pair?

Zombie thread alert! The new super BB pickups will be a superb upgrade. If you contact Yamaha, they are usually pretty helpful with this: Contact details as below and the bass guy there is Alex (can't remember his surname. Sherbourne House, Sherbourne Dr, Tilbrook, Milton Keynes, Buckinghamshire MK7 8BL 01908 366700

It's well known that Keith Richards used to use Mesa cabs just as shelf for his Fender Twins. Pricey amp stand but looks cool on stage!

[quote name='ironside1966' timestamp='1400531641' post='2454772'] I mixed this track using Cubase 7.5 and monitored using headphones. The first thing I did with the tracks was to set the input gain so that I hit the meter at around -12db I did this to most of the tracks unless there is a reason not to, like a high noise floor or a very quiet track. Then I got a rough mix. [b]Drums: [/b] The drums were enhanced with samples from Steven Slates drums. Just to be clear enhanced, not replaced. A trick I often use to add weight to a kick drum is, trigger a sub kick part from a multi sampled drum library such as BFD or Steven slate drums. I also use the PSP Mix Saturator to add a little thickness to the bass and kick drum but you need to use very sparingly and only a little is needed. be careful with the sub sample it may cause phase problems, reverse the phase and see if it sounds better. FX on drums consisted of Valhalla Vintage Verb - Fat drums preset and a convolution verb of a wooden church which was then heavily compressed then fed into a drum master buss I used that like I would room mic's . [b]Bass: [/b] Nothing special apart from the PSP Mix Saturator to add a little thickness and an extra compressor side chained and triggered by the kick. [b]Guitars: [/b] Nothing special again although I added a couple of tracks of my own and all sent to a bus with a SSL type compressor and extra compressor side chained and triggered by the vocal, both only taking a couple of db off. then sent to reverb 1 [b]Vocals: [/b] The chain used was A DBX 160 type compressor set at 4 - 1 but with about 3db of gain reduction, Esq. slight boost between 100hz and 200hz a dip around 500hz and a shelf boost at 5kh to add air. I also used saturation to give the vocal more attitude. [b]Vocals FX: [/b] reverb 1 a medium tiled room Reverb 2 A EMT250 type set at around 1.7seconds with a 70 second pre delay Delay 1 - set for ADT Delay 2 tempo synced at 1\4 All tracks have a high pass filter and many have a LPF also. I use tape saturation on quite a lot of tracks but it's very subtle it helps the tracks to gel together better. Hope this is some help [/quote] Please could you explain the bass compression triggered by the kick? Does the compression happen momentarily while the kick is played? What's the thinking behind this and how do you do it?

Also make sure you send it insured. I sold a bass amp once and it arrived damaged, the guy got a quote for it to be fixed and I paid it was all sorted out although the repair job came to more than I sold it for. Buyer was an ungrateful oik too.

[quote name='No lust in Jazz' timestamp='1400061987' post='2450273'] Sorry for going of topic, but.. Could someone explain the use of the term 'heft'? I've seen it a few times in relation to amplifiers I still don't understand what its being used to describe. [/quote] It's a term I use and appreciate and to me the amps with big transformers that supply high currents continuously rather than in bursts, have heft. This is particularly true of the classic valve amps like the SVT, 400+ and GT200 and what you just can't and don't achieve with things like the Genz Benz products. They both hit the same SPLs but there's a tangible difference to the quality of the sound. I'm sure there's someone on here who could explain the physics. One isn't better than the other, just different. The WA has a certain amount of heft but it's left behind by the 400+ at the same SPL. It's difficult to explain something that I can only feel and don't understand the physics of properly :-)

[quote name='molan' timestamp='1399819825' post='2447971'] I had a Walkabout for while - didn't get on with it at all and sold it very quickly. Sounded a bit flat and wooly to me, especially in combo format [/quote] You sold it to me! And I think it's the best combo ever! I can get it to sizzle and don't find it all wooly. Although, it transforms when it goes through a big sensitive cab, it's amazing. I think all this just goes to show how incredibly subjective tone is and why we should all do the TalkBass thing and use YMMV more often (not)! Now then, while we're on the subject of wooly, I had an Ashdown once and that was so wooly it make my skin itch and I had to wash it at 30 Deg and not tumble dry! :-D

[quote name='Musicman20' timestamp='1399978486' post='2449487'] No, I think you might not have understood what I mean. As far as I know, all of the posts are from people who HAVE tried BF cabinets, in some way/form, eg bass bash, gigs, home vs other cabs, all of these, etc etc. [/quote] I've re-read what I posted a few times and I think you've misunderstood me. Just to clarify, I was saying that those who pass negative comments about BF cabs (or any gear, really) WITHOUT having any experience of them are unreasonable. Anyone who HAS tried them and doesn't like them is just like me when it comes to Harley Davidsons, they just don't like them and have made a judgement based on experience, which in my book is just fine. I don't think I'll ever be a BF fanboy, nowhere near as I'd have to make room and my Yamaha obsession won't allow it :-)

[quote name='Musicman20' timestamp='1399971977' post='2449390'] I don't think this applies to anyone in this thread, sorry.I also think this is exactly the attitude that winds people up, and means the thread gets heated. This in turn leads to people thinking: 'Right, I'll say exactly what I think'. This leads to more problems! [/quote] They already say exactly what they think, which was the point I was making about people giving their strong opinions on something they haven't tried. I wasn't saying that everyone who passes negative comment on BF is an idiot, just the ones who do so without having the experience of the products their commenting on. And that's my prejudiced hypocritical opinion based on having not met the posters. The heated threads were the ones that drew my attention to the cabs anyway so it's all good for business. Maybe some winking smilies would have changed the tone I intended. And the "drivel" comment was self-deprecatory for those who didn't spot that. Would you like me to spell "condescending" for you?! < as is that.

Phone Watford Vales and ask for Derek. He knows stuff. He'll put you right. He does it for a living and people who play valve amps for a living take advice from him. He's not God (Billy Sheehan is) but he'll give you some very good pointers.

I love my Big Twin 2. Not had it long but it's the best cab I've ever had. Why did I get interested in BF? Mainly because anything that generates such passionate polar responses has to be worth checking out. So, if you look at it like I do, then the haters drew my attention to Barefaced and made the products even more compelling than a bunch of fanboys with no opposition and no balancing comment ever could alone. I had to form my own opinion before making comment and in the process found a cab that performs way better than anything else I've used. The whole small specialist British business thing was also compelling but I wouldn't buy British unless it was better than anything foreign made even though I always try to when possible. I just haven't managed to find many UK built basses I liked enough to stick with. As for those who pass comment and judgement without having experienced the products themselves, I can't take them seriously, they're idiots and a disgrace to the other people who post drivel on internet bulletin boards (which is what we used to call forums back in the day).