JapanAxe

As someone who plays guitar in a guitar/bass/drums covers trio, I see it as [u]my[/u] job to make sure there isn't a big hole in the sound when I take a lead break. I use a combination of the following:[list] [*]playing in a lower register than the original [*]double-stops [*]triple-stops (or 'short chords') [*]flat-picking between chord strums [*]favouring the neck pickup [*]compression [*]analog delay [*]light overdrive [*]boosting volume rather than gain [/list] In some songs, the bass player will play a busier part during the lead break, but otherwise all I ask and expect of him is a conventional bass guitar sound. This works well for country and a lot of pop, but as ever YMMV...

Just reading this on my Chinese-made iPad over lunch. In a minute I'll go upstairs and play through my Genz Benz amp (Taiwanese chassis) to tunes on my Chinese made Mac Mini... Etc.

Anyone heard the Bass Scrambler in action?

Oops double post.

I played guitar as the Keef character in a Rolling Stones tribute band for a couple of years. I would say the quality has to be a division higher than for a general covers band because the audience contains a fair proportion of dedicated fans who are picky about how you play the material. I used to listen to loads of live versions of the songs to get a feel for Keef's musical mannerisms and to nail the guitar tones.

Dave bought my fretless. Paid within minutes of doing the deal, made the whole process painless. Cheers!

Fuzz Face type pedals - the pickup(s) sort of become part pf the circuit, and you can use the volume control on the bass to go from crunch to full-on fuzz. With active circuits feature is lost.

^^ This. The further forward you can get your left elbow, the easier it will be to get your fingers where you want them.

A video clip would help. EDIT: I mean, of your playing. We will be gentle with you

A mate of mine gigs his Vintage LP rather than take out his pukka Gibson.

[quote name='Roland Rock' timestamp='1400182804' post='2451638'] Ah, yes, I should have recognised it - it's that bit in the bridge. Aston FM is great at this pulsing feel, and it's really difficult to put into words. It's a kind of slightly-behind-the-beat throbbing. Try to delay each note ever so slightly. A couple of other examples to practice to are 'Old Marcus Garvey' by Burning Spear, and 'Natural Mystic' by Bob M Interestingly, it's the studio versions of these songs that really nails this feel - the live versions always seem more 'straight' [/quote] Thanks Roland, I have both those tracks. Had a quick listen to 'Old Marcus Garvey' (and the dub version 'Farther East of Jack' from [i]Garvey's Ghost[/i], with bass more prominent in the mix), and I can hear what you mean. Back in the dub shed for me!

You can get a 6-way socket strip from Wickes or Wilkinson quite cheap. Lash it to a 1U blanking plate with cable ties and Bob's your uncle.

Sounds like the sort of thing that can be concocted by the magic of DIY.

[quote name='Roland Rock' timestamp='1400162286' post='2451342'] What sort of tempo are you playing it at? [/quote] Same as the record: I Shot the Sheriff. Just realised the title is not in the post, just the tags. D'oh! [quote name='timhiggins' timestamp='1400171311' post='2451448'] I think you have to feel it with reggae,and the end section has that Dawn penn' no no no' feel to me ,which whether played straight or with a triplet feel is a great way to 'get it' ...hope that made some sorta sense [/quote] Err... No. Sorry. I can hear what's going on but I have trouble making it come out of my fingers.

Yep, another cab. For my skinny-string, the amp sits on top of its flight-case.

[quote name='BetaFunk' timestamp='1400102644' post='2450902'] It's a waste of time that youtube lark. I find it much better to waste my time on internet forums. [/quote] This!

I have been trying to nail this song, based on a transcription I did a while back. The one bit that is bothering me is the 'feel' of the 16s played over the Gm in the verses, e.g.: They are kind of swung, not straight, but imparting 'swing' at this rate is not easy. I managed some improvement by playing the above in 6th and 5th positions, as this gave me more time to set up for the 16s without feeling rushed. My question is: Does anyone have a helpful way to 'conceptualise' the reggae 16s feel, or a physical approach that will assist in reproducing that feel?

Plugging a bass into a Kaoss Pad carries a small but worrying risk of causing the Universe to implode, a bit like running the Large Hadron Collider.

[quote name='bassman7755' timestamp='1399806222' post='2447785'] In point of fact you could use a transformer PSU with a class D amp but it defeats the point somewhat since the primary design objective is light weight and efficiency. Conversely you can use a switched mode PSU with a class A/B/AB with some additional trickery that allows them to vary the supply voltage in line with the signal thus overcoming the inherent inefficiency of A/B/AB designs operating on a fixed voltage. This is the so-called "class H" design used in earlier light weight PA amps such QSC PLX range but this design seems to be losing ground to class D designs these days. [/quote] [quote name='Beer of the Bass' timestamp='1399806646' post='2447796'] The power supply and associated mains transformer are a separate issue from the type of power amp used. Usually Class-D amps and switch-mode power supplies are used together, but there are exceptions. The older Acoustic Image heads had a linear power supply with a toroidal mains transformer powering a Class-D power amp and were surprisingly weighty for their size. The Markbass LMII uses a lightweight switch-mode power supply with a class-AB power amp. [/quote][color=#282828][font=helvetica, arial, sans-serif] I knew this would come back to bite me! Yes I am aware of this, but couldn't be @rsed to go into the full details. My bad! [/font][/color]

Oops double post.

Mind you, there is a 1960 stack-knob Jazz on his website for £17,995.