ZMech

[quote name='OldGit' post='561740' date='Aug 6 2009, 09:48 AM']Weird. Did you do something naughty?[/quote] Did you use the microsoft search engine Bing.com? because robotrobotrobot comes up with your site on there.

I saw an equally awesome bass related tshirt the other day. This squid viciuos Tshirt was on sale at topman, but annoyingly I couldn't find one that fitted well.

I think that's the first single cut I've found attractive! although I don't think I would have made the lower horn so angular. A really good job though by the look of it. Edit: realised I asked an already answered question

I got bored again

A massive deviation from the topic, but I saw your picture and only one thought occured; are you chewbacca? more importantly, when you've got your new potentially awesome set up complete, can I come play it since it says you're a Bristolian? I'll bring biscuits as payment (chocolate digestives of course).

awesome. Just did a search on youtube and found [url="http://www.youtube.com/watch?v=KIIQCSleSRg&feature=related"]this acapella version[/url] which is pretty cool. your recordings are really impressive, shall have a play along to them tomorrow.

Well i've got a rebop, which has almost the same specs. I think it's a great bass, especially for the money, even more so if you can bag one second hand. The bridge system is a bit odd, but apart from that it's awesome, with a good range of sounds available with a quick fiddle of the four nobs, which are bass and treble boosts, and a volume for each pickup. Obviously people are going to say to go play one yourself, but I hope that was of some help.

am i being a bit dim? I can't sew anywhere where you've actually said the song name. Every time you seem to say 'the song' Edit: have realised it says it on the song sheet, but it might be worth saying at the beginning anyway.

if you're going to all this effort of replacing the speakers, why would you switch that nice solid metal grill with something that wouldn't protect the speakers as well? unless of course i'm mistaken and there's metal under the cloth.

[quote name='bentdice' post='548378' date='Jul 22 2009, 10:57 PM']The big problem I've found is when you play a chordal bass part with open strings over the top of another bassline & you overlap the same octave range - can make it a bit undefined when you mix it down.[/quote] perhaps try a capo on the 12th frets. would avoid the overlap when using open strings.

I'm not quite sure why you don't just play above the 12th fret. Unless you'd still be playing above the 12th once you put piccolo strings on.

whilst I won't claim to be a brilliant slapper, I'd like to think I know what I'm doing. So if you wish you can drive up to southgate and I'll show you. I'm assuming since you put you're in NW london you're not that far

[quote name='silddx' post='538884' date='Jul 12 2009, 10:13 PM']Dune inspired me to do so many things! Truly awesome piece of work. I think I've read the first one 9 or 10 times but I've read the whole series 6 times.[/quote] I read the first book recently and thought it was absolutely brilliant, but i've been told the others are dissapointing in comparison, are they worth reading? Oh yeah, and if you want a real slap challenge, try learn to double thumb!

I can't remember who it was, but i remember reading on one luthiers site that they use some tiny frets, either banjo or mandolin, as it means there's the least amount of metal between the string and fretboard to get the most fretlessy sound possible. no idea if it works but it's worth trying. Edit: I think it may have been dingwall.

I learnt to sight read this term. My method was far less thought through, and instead I just completely jumped in at the deep end. I offered to play bass for my hall play, and had about a week between getting the sheet music and our first rehearsal. before that rehearsal I just about memorised where the open strings are written. After that I was literally learning on the fly. Thankfully as it was pretty much just crotchets. The MD's advice was that to better cover up any mistakes, learn to read the key signature, so that if I can't read a note fast enough just play the root note of the key and most definitely stay in time. as a bassist very few people will notice a note that's wrong in pitch compared to wrong in rhythm.

If it's acoustic stuff you want, try listening to john mayers live album. he does some good covers too e.g. message in a bottle. Also has sweet bass as it's pino palladino.

have currently got a set of these on my bass, which sounds awesome. however, was wondering if anyone else found that the silk park is stupidly long? it ended going round each of my tuners a good 9 times. in theory i could have somehow cut the end of, but at uni all i had was a pair of scissors.

chris, if you read the whole thing, I say that the frown is a rule of thumb, and go on to say what you just did with starting flat and adding/cutting from that.

well I did a load of googling, and have found what seems like good advice, which I'll summarise here incase anyone has the same issue in the future. Buzz's advice was repeated several times. As I found, although a 'smile' sounds good in your bedroom, it gets lost when other instruments are present. So a frown is indeed the way to go as a rule of thumb, else you will only be felt not heard. The most interesting bit I found was a guide to learning how to tweak the EQ. Essentially, level off both your amp and bass controls. Then go through each band of your eq, and take it to both extremes whilst playing. This means you learn the effect each frequency band has on your sound, and what too much and too little will do. For example, at 50Hz I discovered that too much just makes a thud sound, but too little just makes the sound weak and pathetic. At the other end of the spectrum, 5kHz if too much will make the sound too tinny, but too little will lose the 'sparkle'. So to set up the EQm for actual playing, the best thing to do is start with the eq flat, then listen to what your sound has too much/little of and adjust the right slider accordingly. Of course, as happy jack says, this needs to be redone whenever you switch amp/location/bass. Had a go at doing this this morning, and have ended up with a hump at the low mids, with just a slight boost to the 5k and a cut at 50. One other point is that the dynamics of the amp/cab will change at louder volume, so if you're playing a gig there's no point EQing at a low volume whilst people are setting up then cranking up the volume after. One thing I might also do when I next play a gig is get someone I trust (not a guitarist ) to stand there plucking the strings whilst I stand in the middle of the room. Of course, most of you will probably know this, but hopefully someone will find this useful. Edit: also, just realised this thread should probably be in amps/cabs. any mods want to move it?

Don't think there's any advice on here, so could anyone give some tips to setting up my EQ? it's a 7 band digital eq (ashdown superfly), and I have no idea what to do about setting it up. I've played around with various setting, such as midscoops and have managed to get some good sounds in my room. However, when I was jamming with a mate the other day, my sound didn't fit in well with his. So I was hoping someone would be able to give me some tips about how your meant to know when to cut or boost the bottom/mids/treble?