thisnameistaken

Cheers for the info Rich. Out of interest what is that fiver worth do you reckon? I don't think I'll be shopping for one any time soon but I do need to make a change at some point - not sure how much longer my wrist can cope with my beloved Thumb.

[quote name='mildmanofrock' timestamp='1332372837' post='1587564'] I had one around 90/91. Bloody horrible twangy, active thing. [/quote] I think 1990 is when they came out, I remember seeing the adverts, I don't know when they stopped making them though.

Anyone remember this one? A Status with a graphite neck with a headstock. Wasn't so hideous. How long did they make them for? I never seem to see them for sale anywhere.

Watching that NAMM clip I think I've decided what I don't like about Marcus' playing is his overblown dynamics, it's really corny. Notes are either soft or absolutely battered, it sounds like someone spitting on you. I prefer listening to him speak than playing bass because he's obviously a really clever and experienced guy with a lot of interesting stuff to say, but his playing makes me want to sedate him.

Turn your amp up man.

I find the hard part is stopping my picking fingers from tripping over eachother. If you slow it down it will help a lot, then gradually build up the tempo.

TBH with flats I'm either going for big reggae boom or a muted old soul sound, both of which I imagine engineers are pretty familiar with.

[quote name='chardbass' timestamp='1332200980' post='1584882'] Poogie is a monster[/quote] He sounds like a stuffed toy.

That was pretty horrible. The original is such a massive sounding groove and everybody is totally on it, this on the other hand sounds unrehearsed, even Marcus' slapping isn't very tight in the first minute or so that I put up with. Bad music. Just bad.

[quote name='TPJ' timestamp='1332160816' post='1584002'] Whilst pretty much all of my gigs are on DB, I still practice electric more than DB. I suppose that accounts for my somewhat dubious intonation [/quote] Something's wrong with the universe - I practise DB daily but have only gigged it once in the last 6 months, I'm always on bass guitar which I never touch at home. :/

I've never wanted a P, but I did have a Tanglewood fretless P in the early '90s that was a pretty nice bass, the neck was nothing like a Precision it was really slim and nice. These days I do quite like the idea of a Sandberg PM5, but that's the only P I want. And I'd ask for a J neck on it. I've never wanted a Status because they are for 45 year old men with beer guts who saw Mark King play one. Consequently they must be the most-LED-fingerboarded basses ever made. Sorry to whoever here has a fingerboard festooned with LEDs but seriously what the f*** were you thinking? Do you just LOVE christmas? But I would consider a Status aftermarket neck on a nicer bass. If they weren't so expensive.

Honeys are more of a jazz string IMHO, I've got them on my bass at the moment, they're very good strings for the money, sound good bowed too, slightly lower tension than 'light' steels but not much in it. I had Silver Slaps on before the Honeys. Again, I think they're a really good set of strings, lovely warm sound great for old American folk type sounds, lower tension than I wanted but they make sense if you slap a lot. I still haven't tried Super Silvers but I do plan to, they could be ideal for you if you want that sound but don't slap much, apparently they sound like the Slaps but have a more 'normal' tension. Still more flexible than most hybrids though. The other option you'll likely hear recommended is the new Cordes Lambert set, but they are only available in limited numbers at the moment, I think there's a waiting list.

[quote name='Higgie' timestamp='1331995689' post='1581892']I'm pretty confident the Loop Logic covers all your needs, but to get dry blended with your sound you'd have to turn off the pedals in whichever loop you don't need, so effectively you'd always be blending loops 1+2 together eg. turn off all pedals in your modulation loop to get dry+dirt and vice versa. Then if you need the dirt + modulation you'd just turn your modulation pedals on as usual.[/quote] This is correct. Max designed it for me and that's what I wanted. It's a good little pedal, basically an LS-2 with higher quality components and the ability to switch each loop on/off independently. And the switches are close enough together to switch both on/off with one stomp too. It also has a high quality buffered bypass so if you leave it in your signal chain when it's bypassed it helps avoid tone-suck from long cable runs. Definitely does this better than the LS-2. I can't remember exactly but I think I paid £160-180-ish for mine, but it was a one-off at the time and there was R&D involved and the components are not cheap, so yeah, email Max.

I've got a pretty awful voice and I don't imagine singing lessons would make enough of a difference. My pitch is fine and I can improvise or remember harmony parts easily, but I wouldn't sing alone just because of the quality of my voice. If you find I'm wrong please let me know and I'll go get some lessons.

[quote name='warwickhunt' timestamp='1331895479' post='1580488'] I know that early ones 'can' be removed, however despite having owned many early Warwicks I've never had a duff truss rod. [/quote] My first Warwick (a Corvette Proline 6) had the truss rod fail. Warwick blamed it on the neck construction (laminate, mostly maple) saying it wasn't rigid enough, and replaced it with a mostly-wenge neck with a volute for free, and sent me T-shirts and gig bags and stuff to say sorry.

[quote name='Muzz' timestamp='1331892003' post='1580389'] Went through a rash of stuff over a couple of years a while back (after a very long time with an Ampeg SVT/810 rig), but settled on the RH450 and Schroeder 1515L - it does the job, is incredibly loud, very very light and easy to shift, and gives me the tones I'm after. I'd consider another Schroeder cab if I was completely confident about it running under 4 ohms.[/quote] I'm on a Hartke LH500 which I'm very happy with but always a bit tempted by the compactness of a Littlemark head, and a Schroeder 1212L which I think I would only trade for a 1515L. Great sounding cab and nicely portable.

The first amp I ever owned was a Laney just like the one in your photo. I attached castors to the bottom and took it to gigs on the bus. Sounded really awful.

My first db gig was on the fecking radio. :/

If that's Nick's (2wheeler) old bass I doubt there's too much wrong with the setup, unless the bridge has moved in transit - it should be lined up with the notches in the f-holes. Could be that it would benefit from lower tension strings - my bass is pretty thumpy on the E but it was worse when I had evah mediums on it, they really strangled it. Bear in mind also that different string types have very different sustain qualities - quite deliberately. Do you know what it's currently strung with?

My one piece of advice: Pace yourself.

That video with the banjo player shows some nifty slapping, that's the sort of playing I like. I end up slapping when I'm out busking just to add a snare beat and get a bit more volume, but I can't do anything clever like that.

Innovation Silver Slaps are pretty good for that old-time sound. Or Super Silvers if the low tension doesn't suit you.

I don't think I'm that interested in bass players so I don't know who is rated highly and who isn't. I generally like bass players who play interesting parts in good bands, and dislike bass players who play at trade shows.

[quote name='crez5150' timestamp='1331545411' post='1574319'] Well not sure if it is the actual sample but I know there were legal wrangling's over the use of the track.... so perhaps GF just ripped it off[/quote] I guess they just got Doug Wimbish to play it. They took the beat from Genius Of Love for 'It's Nasty' too, For The Love Of Money for 'Step Off', etc.

Smiths - Heaven Knows I'm Miserable Now, This Charming Man. Cure - Love Cats, Close To Me, Lovesong, etc.. Madness - House Of Fun, In The City, Deceives The Eye, etc. Lots of good bass playing without resorting to Go West.