thisnameistaken

[quote name='Elvis Valentine' timestamp='1357745134' post='1927684']Have you used both? Is the b3 on par with the m9?[/quote] No sorry I haven't used the Zoom. The M9 has enough useful effects on it for me to have kept it for a couple of years though. The way you can configure expression pedal control is my favourite thing about it, but I don't rely on it for everything - I mostly use it for pitch shifting, delays and modulation effects. The worst part of it is the filters which are all pretty useless but I'm alright for outboard filters anyway.

Might also be worth looking at the '66 reissues from Japan. They look a lot like the US '75 but you get a matching headstock too and it will work out about 2/3 the price after you import one. They look really sweet and Fender Japan make great instruments.

One of the top Youtube comments is 'She's the Rodney Mullen of Bass Tricks'. I was thinking all the way through I wonder what she can do with a skateboard. [quote name='stingrayPete1977' timestamp='1357767814' post='1928223'] Would be funny if she smiled at the end to reveal most of her teeth missing! [/quote] And how many teeth she lost practising that routine!

[quote name='Dr.Dave' timestamp='1357728351' post='1927222'] May well be true but not in my case. I want a sound that pleases me (no idea if it's good bad or indifferent , that's all just opinion) and id easy to acheive. I might roll a bit of bass off if the room's big and boomy but other than that the knobs don't get moved for months at a time. It really is how I choose an amp. If I have to swing on the knobs I don't buy it. I love to play - I hate fiddling with gear. It's just gear. Maybe you can get attached to an instrument that you have such a tactile relationship with but not amps. Black boxes with knobs on. Who wants to be thinking about that when there's a job of work to be done.[/quote] I'm the same, believe it or not. With the effects I mostly just find the sounds I want and then use them. Sometimes I'll tweak around to find something new but for the most part things get set and they stay that way. [quote name='Dr.Dave' timestamp='1357728351' post='1927222']I expect it's the same thinking that means the fx stay at home. All this tap dancing.... pah. Just another link in a chain that makes it ever more likely something will go tits up. They suck your sound too. Never yet heard a 'true bypass' that didn't lie. [/quote] The trick is to have a really good line driver that is always in your signal chain. Relying solely on true bypass will mean your sound suffers from cable capacitance, but buffering it at the board means it will run to the amp with no losses. Then all your other pedals can be true-bypass so they don't interfere with anything. FWIW I've never had a failure on my pedal board, although I do have it set up so I can completely bypass everything with a mechanical switch so if the whole board goes down one stomp and I'm going straight to the amp.

Not too high for me or I get problems in my right wrist and shoulder. Not too low either or I get problems in my left wrist. My Thumb has a small body and if I was naked then my junk would be swinging just under the bottom of the body I reckon.

Lots of TV shows with nice bass parts in the theme tunes. http://www.youtube.com/watch?v=1y5E63jGT2I

Warwicks tend to have smaller bodies with chamfered edges, definitely worth a try. Avoid the Thumb though, or anything with a short top horn like that (Westones, Gibsons, etc.).

I suppose that's another thing they should've ripped off the M9.

[quote name='chris_b' timestamp='1357732122' post='1927320'] A Mk3 American Walnut 5 string Wal.... [/quote] See I always think the Mk1 is the best looking. [quote name='spongebob' timestamp='1357732667' post='1927334'] Rickenbacker 4001/4003 without question for me! [/quote] The body shape looks like it was done in a comprehensive school by a kid who got at best a C. I agree the Jazz is a nice looking bass, especially with all its various accoutrements (covers, block inlays, bullet truss rod nut). The Stingray is a very nicely-balanced design too but maybe a little too big. I think the current Yamaha BB----x basses look really nice. I think the hard part of making a bass look attractive is that it's quite a large canvas, so leaving it plain can look too plain (L2000 for example), and there's the temptation to put a pukey quilt top on it and/or a trans/burst finish. What it really needs is nicely designed hardware and basses like the Jazz, Stingray and BB----x models got it just right.

[quote name='bluejay' timestamp='1357686025' post='1926913'] On the other hand, the acoustic is a pain - literally - and can't be played while sitting. I stand up when I'm playing it. Only problem is a bit of neck dive, cos it's cheap and it's hollow... [/quote] Is that what made you decide to buy an upright? Very wise decision BTW.

[quote name='Dr.Dave' timestamp='1357675238' post='1926600']I like the sound of my bass through an amp. If I didn't - I'd sell one or both until I found a basic tone I liked. Too many people using fx because they aren;t happy with their basic tone , I reckon.[/quote] I think it's more that some people in a lifetime of gigging learn to use more than one sound. I mostly use octavers, sample rate reducers, pitch shifters, filters and fuzzes, sometimes phasers or chorus, sometimes delay + reverb, but they are rarer. I like effects that make synth bass noises and I also like effects that make a big mess of things. Mostly I like making broken robot noises.

I've never deliberately made any money out of gigging. At least not here in the UK. In the USA I had little choice because I was illegally resident, but in the UK I have managed to avoid money gigs completely.

Depends whether you like music or just like standing on stages.

[quote name='simonc61' timestamp='1357638096' post='1925602']It just gets better and better - [url="http://markpercy.co.uk/musician_attacked.htm"]http://markpercy.co....an_attacked.htm[/url] This guy appears to have some seriously bad Karma going on![/quote] I was going to take this gig but now I'm concerned that I will fall victim to black propaganda. Sorry Mark, the illuminati have ruined your chances of finding a bass player too.

[quote name='Bilbo' timestamp='1357552417' post='1924202']... There is a 'human' quality that this inaccuracy brings to the table that adds considerable character to the notes played on the fretless and which is missing in a fretted bass.[/quote] I took a bass guitar to a rehearsal yesterday when I would normally take a DB (took a whack on the left shoulder at the weekend and didn't fancy the idea playing DB for 4 hours). I thought it would be missing something in terms of the tone but I think you're right - it was just too accurate. It didn't sound right at all. [quote name='Bilbo' timestamp='1357552417' post='1924202']Also, if you listen to a double bass soloing, when they go into thumb position, the inaccuracy in their intonation brings a huge amount of tenion into the note,[/quote] Sometimes too much tension.

Seems good value for a couple of cm of dick height adjustment.

Basses with gold hardware and a quilted maple top finished with a transparent green or blue. Doesn't matter what shape it is if it looks like someone's been sick on it.

http://www.youtube.com/watch?v=foDUoSAtfsU

I saw one in a shop and tried it. It wasn't as hard to play as I expected and it sounded really different, so a few weeks later I bought it. For a few years I only had fretless basses - starting with that Tanglewood P, then a Godin Acoustibass, then a 22-fret Jazz that I de-fretted. It's just a different sound, depends whether you like it or not. I think in the right hands they can sound really interesting.

You might be better off with spiro weichs, you won't fatigue as quickly so you will get more good practise in. Tonally they're very similar.

[quote name='phil.i.stein' timestamp='1357399572' post='1922098']you didn't find it too 'smooth' ? i find it to be not brutal enough, but that may be just the type of sound i'm after.[/quote] You can get more beans out of it if you hit it harder at the input but yeah it wasn't high gain enough for me really. Still, I thought it worked very well in a typical guitar-based band setup. It didn't just turn everything to mud like a lot of fuzzes do.

[quote name='BILL POSTERS' timestamp='1357399138' post='1922091']I dont know any theory,[/quote] Hmm. [quote name='BILL POSTERS' timestamp='1357399138' post='1922091']never had a lesson, and worked it out for myself. [/quote] Worked what out for yourself? I thought you said you didn't know any theory? It sounds like you do know some theory. If you didn't know any, you wouldn't be aware of what you don't know. And I imagine the theory that you've worked out for yourself has been useful or you wouldn't have retained it. Don't you think that even more theory would be even more useful? I don't think anybody here has belittled anybody for what they don't know. Only suggested that knowing more is never a bad thing.

[quote name='stingrayPete1977' timestamp='1357396413' post='1922036']Lots of people know its uncool to be a theory geek and keep it quiet, Blur are a good example IMO right bunch of nerds that kept it quiet until after the glory days of squaring up with the Oasis brothers had passed [/quote] TBH right from the start of 'There's No Other Way' it was pretty obvious Coxon knew what he was doing. It sounded like something Johnny Marr might have played.

[quote name='lowdowner' timestamp='1357376888' post='1921702'] This isn't just about being able to understand notation - but understanding how the music 'works' so you can make it do what you want. [/quote] Exactly. And the more you know the less trial-and-error you have to go through to get the result you're after. It's just like anything else. [quote name='LukeFRC' timestamp='1357377729' post='1921715'] Plus a little theory can be a bad thing. Years back in my first band I couldn't make a gig - so a friend of a friend dep'ed for me - that band was mostly really really simple lines and he turned up and wanted to add double thumbing on a song, and could play all this stuff that was technically way beyond me - obviously he had a bit of theory behind him. [/quote] I think that guy's most obvious problem was that he was a bit of a knob. I've met a lot of guitarists who know very little theory but still behave like that. I don't think knowledge is the issue here!

[quote name='phil.i.stein' timestamp='1357371481' post='1921666'] unfortunately, although the blowtorch is a great pedal, it's sound struggles to cut through guitars imo., but sounds great on it's own.[/quote] My experience was the absolute opposite of this. I found the Blowtorch to sound pretty uninspiring on its own but the EQ and blend controls made it easy to find a niche in a guitar-heavy mix where you could still be heard. I ditched it because it was 18v.