thisnameistaken

Hey Al, I think [url="http://basschat.co.uk/index.php?showtopic=21303"]this[/url] is my feedback thread. If you don't already have one I'll start one for you, given that you're demonstrably trustworthy.

[quote name='Crikey!' post='1299460' date='Jul 10 2011, 11:52 PM']Our last tour has been dubbed the Disastour...[/quote] We (well, the band I'd quit the month before but was still covering gigs for) opened for you at the Well in Leeds. We were there ready to soundcheck from 6pm waiting for you and your sh*t van to turn up. You were covered adequately by the other support band though, they were really nice actually. We're used to gigging with Random Hand who must have the most unreliable transport in the history of pop music.

[quote name='4-string-thing' post='1298802' date='Jul 10 2011, 09:59 AM']The folk-rock band I used to be in always soundchecked with Silver Machine! Don't ask me why, it just seemed like the most ridiculous song that a band with a mandolin and fiddle could do.....[/quote] My old 10-piece funk band used to find itself soundchecking with tunes like Rock You Like A Hurricane, or Tonight I'm Gonna Love You Tonight, whatever the guitarist started playing basically.

I think multi-FX used to suffer from the UI being the product of an engineer, not a designer. So each unit on the market had its own collection of different-shaped lit buttons that had to be pressed and held and toggled and so on. They're getting better now (the Line 6 M series interface is pretty good), there are a lot more quality UI designers around since the web took off. Roland are still doing a sh*t job of it though.

Happy to help, nice to meet you good luck with your gig tonight.

I only mess about when checking my mic - I'll do old kids TV themes (Rent-A-Ghost comes up a lot, as does Record Breakers) and belt them out so they can get a good level. On the bass I'll play something that suits what we're about to do, so the sound guy knows what sound I want. With my last band it was often something like Sublime or a Clash tune. I think if you can play something reasonably well-known that has a sound that you'd like, it's worth a go. But only if you've found that sound works in rehearsals. No point asking a sound guy to make you sound like Marcus Miller if you're just going to get swamped by guitarists when the rest of the band joins in.

The M9/13 also has a setting called 'scene latch' mode. Normally, each footswitch turns individual effects on and off, and a combination of footswitches changes between scenes (saved collections of effects). When you switch to a different scene, all of the effects that were active in that scene the last time you used it are active. With 'scene latch' mode, one stomp changes scenes, rather than turning one individual effect on or off, so on the M9 you could have 6 collections of effects available to switch between with one stomp. It's all in the online manual if you want to have a nosey.

I'm on Bootham, I won't be about much today or tonight but I've got an OC-2 you could borrow if you could pick it up on Saturday. The footswitch is a bit unreliable (like many Boss footswitches it often double-switches when stomped) but I think I have a true-bypass loop pedal in the loft you could use to bypass it. Let me know if you want to use it.

Yeah, lots. One of the cheapest ways to do it is with a Boss LS-2. The LS-2 is pretty flexible, you might find other uses for it too.

Oh I forgot, we need someone to post this: Yawn another slap thread yawn lol typical ur jealous lol.

Yeah just don't do it on Youtube and there'll be no issue.

[i]*gives up*[/i]

The Behringer ADA8000 rack pre is actually a decent bit of kit - get that if you want to track drums and you're on a tight budget, it does the job. For an interface I'm currently using an M-Audio FW1814 which will take the 8 ins from the Behringer via a digital in, and/or it has 2 built-in pres on the front, it can do more ins too, it is tiny and weighs practically nothing. But you might want to look at newer interfaces than old Firewire boxes - the usual tech merry-go-round is busy phasing it out right about now. I use these in conjunction with a Macbook Pro and either Pro Tools M-Powered or Reaper as my mobile rig, along with a box of mics and cables and two or three pairs of DT-100s. Usually I won't take the Behringer rack, I'll just take the laptop, the M-Audio box and other bits. It's a flexible setup. It worked for tracking 10 drum tracks at once in my living room and I've also lugged it all on the train by myself without too much hassle (even took a stand!) to track a guest trombonist for our last EP. I also have a pair of fairly portable monitors but I usually leave them at home - I'm generally confident that if I can get a decent sound on the cans it will be mix-able at home.

[quote name='paul h' post='1293128' date='Jul 5 2011, 10:09 AM']I can't be bothered to read this thread but I'm going to comment anyway [/quote] That was a lovely story about yourself, very touching. Nothing to do with the thread but never mind that - well done, you! Can we have a big hand for Paul, please.

Ah but mine wasn't made out of virgins' m*nges like the Fodera ones are.

I had a tone skull for a while, really improved the timbre of my bass, turned it around for £5000 in a hi-fi shop.

[quote name='Rich' post='1292672' date='Jul 4 2011, 08:28 PM']Not at all, no. Should i be? However, if we change the wording slightly... Hell yes. Actually, not so much jealous as angry.[/quote] Players who revel in their lack of ability to become successful? You get angry at players who are proud of being unsuccessful? Did I get that right?

[quote name='silddx' post='1292512' date='Jul 4 2011, 06:17 PM']It's also easy to be a 'melodic' bassist just by playing little scale lines under the chords, but it's pointless if you are not aware of why you are doing it and what the impact is on the song or section of the song. A much bigger challenge is to play bass for harmonic impact, where to put a note to accent a vocal line or even a single word, or a chord or passing chord. Then you get into timing, note pacing, space, simplicity, complexity, when to stick in that tritone, etc. Listen to Scott Thunes or James Jamerson and you might learn a tiny bit of that, listen to Kim Deal and you are doomed to mediocrity and guitarists telling you what to do.[/quote] I know where you're coming from, and this wasn't really intended to be a discussion of Kim Deal specifically, but: I find what she does interesting because it's something I'd never do, and it works very well, and it gives the Pixies' sound an idiosyncratic angle. I wasn't suggesting that everyone should play like Kim Deal, but I do think if you can't appreciate why she was important to the success of that band then you're maybe missing a trick.

[quote name='wombatboter' post='1292489' date='Jul 4 2011, 05:54 PM']Although I'm Belgian I seem to be one of the few people who has understood the question...[/quote] I know you're referring to the question being in English, but your post sounds like a very disparaging remark about Belgians. And yes it seems that most people didn't read the first post.

[quote name='BottomE' post='1292419' date='Jul 4 2011, 04:53 PM']If she is offering advice then it does matter.[/quote] I disagree, but anyway she isn't offering advice, she's mocking us, that's different.

[quote name='Doddy' post='1292385' date='Jul 4 2011, 04:29 PM']I find it difficult to listen to a suggestion from a player who I have never heard play anything but simple crotchet/quaver basslines.For me,it's like I've said in the past...Do you play a simple line because it's the best thing to play for what you are doing,or do you play it because it's the only thing that you can play?[/quote] Why does it matter what she *can* play? She's got a unique sound because of what she *does* play - it doesn't matter whether she's capable of anything else. Do you know anybody who *can* play very technically and has ever played anything as simple as a Kim Deal line? No.

And she really does sound unique as a result.

It seems a common riposte to those who express a dislike for slap bass in '80s fusion-sounding music is that they're 'jealous'. I don't like that stuff myself, I think it's pretty cheesy, but I don't think I'm jealous of slap bassists. I do wonder if the boot is sometimes on the other foot though? When you see bassists who haven't spent hours and hours working on fringe techniques like slapping become successful, are you jealous of them? Players who perhaps don't even practice at all, but they make music that lots of people love. I would imagine it's quite galling if you've dedicated hundreds of hours of diligent practice to techniques that you'll only get to show off on Youtube. Kim Deal for example. I think the stuff she plays is sublime, but it's obviously not technically hard to do, she's a fine example of taste over technique. Does it piss off the macho slappers to see someone like that playing to audiences of thousands all over the world when the slap players can only get gigs at trade shows?