EliasMooseblaster

[quote name='Chiliwailer' timestamp='1428581412' post='2742621'] A term used in various industries for something that is genuinely old, made years ago, but never been used so in perfect condition. Now refer to Discreets earlier post as they are not, at all, NOS in reality... [/quote] Aha! Maybe this is the clue. Because the sort of people who talk about stuff being "postmodern" are the same sort of people who like to do everything "ironically." So perhaps the irony is that these basses aren't actually NOS after all. (Except this would be a correct use of the term "irony," whilst the aforementioned t***pots tend to completely misunderstand the term when they use it. Ironically enough.)

Excellent work, chaps. Now at least, if I buy one, I will have a good explanation if my mother asks about the name: [quote name='Chiliwailer' timestamp='1428580904' post='2742608'] Yeah, i had to look that one up. I wouldn guess it's something about it being a classic design yet updated and a departure from modernism - which could be a reference to the amount of Relics out there?!! [/quote] ...and the explanation I will give if any of my friends ask about the name: [quote name='discreet' timestamp='1428580693' post='2742604'] It means it's a bad idea brought to market by coke-fuelled assholes. [/quote]

Erm...it's a good-looking enough bass, I guess (though I agree about the white!), but I'm at a loss for what qualifies it as "Postmodern."

[quote name='Drax' timestamp='1428563793' post='2742376'] Highly recommend saving your bottle of piss for The Kooks [/quote] I'd be happy to send you additional bottles of my own micturate if you're going to be within lobbing distance of The Kooks...

I'm sure plenty of you saw that edited version of the Reading & Leeds Festival poster, which highlighted how few bands contained any female members. With the help of our friends in Cambridge, we'll be attempted to redress this balance, presenting a night of female-fronted rock bands: [b]Cherry White[/b] http://cherrywhite.bandcamp.com/ [b]Bouquet of Dead Crows[/b] http://bouquetofdeadcrows.bandcamp.com/ [b]All Whales Go To Heaven[/b] http://www.reverbnation.com/allwhalesgotoheaven [b]at The Grapes (Histon Road)[/b] [b]Saturday 18th April from 8pm[/b] Best of all, it's FREE entry, and there are rumours that the gig will be recorded by some of the good people at Cam FM - so if you'd like your wittiest heckles immortalised on public radio, then you know where to bring them!

I really should have put this up sooner, but never mind:[b] this Saturday, I'll be at the O2 Academy2 with Cherry White.[/b] [b]BABYHOWL + CHERRY WHITE + LOOSE MOORINGS + SEASONS IN SHORTHAND[/b] [b]Saturday 18th April from 8pm[/b] [b]The O2 Academy2, Islington[/b] Advance tickets are now available from [url="http://www.ticketweb.co.uk/event/YDH1104O?brand=o2academyislington&camefrom=AMG_ISLINGTON_OLDSCHOOLINDIE"]http://www.ticketweb.co.uk/event/YDH1104O?brand=o2academyislington&camefrom=AMG_ISLINGTON_OLDSCHOOLINDIE[/url] and the official FB event deelie is up at https://www.facebook.com/events/653526111419294/ And for those who've not heard Cherry White before, you can remedy this at https://soundcloud.com/cherrywhitemusic/

I can't even claim to be any kind of expert eye on such a matter, but if we apply a bit of common sense: there's no way that "no smoking" sticker has been on that bass for more than a couple of years...and what kind of philistine puts a naff sticker like that on an original '70s Fender?

I'm a little surprised by some of the figures quoted on here, as all my amps have run on a 5A fuse to date (though I should probably double-check that on my newer Ashdown...). I suppose if the cable can handle a higher current than the 5A (or 10A) your amp draws, that's no bad thing, but consider changing the fuse for the correct current - I'd be wary of running a 5A amp off a 13A fuse!

[quote name='D.I. Joe' timestamp='1428182429' post='2738967'] Turn back that bass dial, dude! I've found that turning the bass knob down and slightly boosting the low-mid sliders [b]gives me a nice tight, round bottom[/b] with plenty of definition in the context of the band. [/quote] And I thought it was just the jeans you were wearing!

"How Can I Publish My Music In TIDAL? For unsigned artists, the easiest way is to register at one of these services: 1. Record Union 2. AWAL 3. Ditto Music 4. IIP-DDS" Possibly a bit too early to ask whether anyone can comment on their experience as a content provider then...

[quote name='steve' timestamp='1428105057' post='2738219'] I listened to a couple of tracks on your website - very impressed. Great playing by all involved, and your singer has a wicked voice. [/quote] Very kind of you to say so - thank you!

Well, I did say exceptions would exist!

[quote name='RhysP' timestamp='1428230266' post='2739280'] Nope, I can't stand Stevie Wonder either, or pretty much any other funk or soul music to be honest. [/quote] Can I suggest that this is the argument that people are actually having in this thread? The people defending ERBs are citing a lot of examples of funk and soul, and the people bashing them don't seem to like funk and soul. 5's are great for that kind of music because the bassist often has to keep a deep groove going without getting in the way of the soloists, whereas a lot of good rock basslines cross over slightly into the guitarist's sonic territory, making the bottom five notes somewhat cosmetic. The rise and fall in popularity of the 5-string in mainstream rock music seems to correlate closely with the days of nu-metal and 7-string guitars. Further evidence, I'd argue, is that most of the basses typically cited as having a 'good' B-string tend to be the more 'modern' designs, with exotic woods and advanced pre-amps for tone sculpting, something a lot of rock bassists would turn their nose up at. I've not seen many ERB players talking about getting that "Rick clank" or "P-bass growl" out of their Overwater or their Ritter. (Though of course exceptions will exist!) I've never had the bug for a 5, but I wouldn't rule one out. Though a more pragmatic part of me thinks that, when the time comes to dip my toe in the ERB pool, I'll probably go straight for a 6 or a 7 and have done with it!

Ah, ok, I was thinking in much simpler terms - along the lines of a footswitch for each bank of lights that would simply kick the mains power in or out. I could see getting away with this for the main lights and the small floor lights, but I'm a bit concerned that this might lead to blown bulbs or fuses for the floodlights!

There appear to be plenty of knowledgeable people on this thread, so I shall ask for your counsel before I spend a large amount of money doing something stupid! I think it's time Cherry White had their own lighting, just to improve the overall experience, but I think coloured lights would be at odds with the style of the music. Personally, I think we'd suit a bit of dramatic white lighting (exhibit A: https://youtu.be/1n4I0qYrdXo), so I had in mind something similar to exhibit B: https://youtu.be/h8z-WLL0VHA, albeit without the blue wash. So basically, a couple of standing lamps in the middle of the stage for the most part, then for moments when the music is being more dramatic, I thought it would be good to have some small spotlights on the floor (quiet bits) and maybe a couple of floodlights at the back (loud bits). And, as we can't afford our own lighting engineer at the moment, I thought it would be useful to cobble together some footswitches, so that somebody who knows the set well (e.g., me) could trigger them whilst on stage. Your mission, if you choose to accept it, is to tell me whether this is an ill-advised (or even downright dangerous) idea.

I've never been drawn to 'rays, particularly, but I have to say that colour really suits it - I look forward to your NBD thread in 16 weeks' time!

Getting a bit sentimental reading this thread - my very first bass was a Bronco! (Good god, was that really 15 years ago?) Looking really good - are you planning to just stick with a single volume and tone to control both pickups?

Cheers! Ironically enough, I think it was the looks that first made me think I wanted one, but then I realise it's quite a divisive design (my best friend thinks it's the most hideous bass I've ever owned) - just as well they sound so good, really!

[quote name='burno70' timestamp='1427999096' post='2736950'] Lovely demo - nice and phat tone! I've had my LB30 for over a year now and wouldn't part with it - it's fantastic. Best tone I've ever made. Makes me want a great big valve amp for gigs -- and a great big roadie to carry it! [/quote] Cheers! It's probably worth pointing out that this is with the amp running at very modest volume (8-9 o'clock) and with the bass control down at about 9 o'clock so as to maintain good relations with the neighbours - it's also coped remarkably well in full band settings before. Anyone who's seen Cherry White will confirm that we're not exactly quiet (and that's why I upgraded to a CTM-100).

[quote name='Beer of the Bass' timestamp='1427969035' post='2736377'] Hmm, that's a rather idiosyncratic view. I suspect he's trying to confirm his own prejudices as much as anything else. [/quote] I suspect you're right. When he comes out with things like, "[color=#333333][font=Verdana, Arial, Helvetica, sans-serif][size=3]But the aim is to maintain as consistent a sound possible as one plays from string to string, so that the instrument conveys a homogeneous timbre over its entire range.[/size][/font][/color][color=#333333][font=Verdana, Arial, Helvetica, sans-serif][size=3] And there ain’t a 5-string bass on the planet that can do that."[/size][/font][/color][color=#333333][font=Verdana, Arial, Helvetica, sans-serif][size=3] [size=4][font=arial,helvetica,sans-serif]Newsflash: your average 4-string bass can't do that either! Notes at the bottom end of the first two strings are not "timbrally consistent" with the same notes played up at the dusty end of the bottom two strings; you get a different balance of harmonics, and if they're that vastly different then you use whichever one sounds most appropriate. [/font][/size][/size][/font][/color][color=#333333][font=Verdana, Arial, Helvetica, sans-serif][size=3] [size=4][font=arial,helvetica,sans-serif]I suspect he's one of those engineers who's become unnecessarily anal about listening out for high frequencies that are normally only audible to dogs, and low frequencies normally only picked up by seismographs. Even before Nathan East was experimenting with low B-strings, Black Sabbath were tuning their guitars and basses down to C# (possibly even C) by 1971, and I don't hear many complaints a lack of fundamental on [i]Master of Reality. [/i][/font][/size][/size][/font][/color]

I've put up a couple of demo recordings, though I'm not optimisitc that my cheap dynamic mic really does the rig justice! Recorded using the two basses I had at home: [url="https://soundcloud.com/cherrywhitemusic/ashdown-lb30-demo-precision-bass/s-dgF0j"]https://soundcloud.c...on-bass/s-dgF0j[/url] - "Brenda"; kit bass Precision copy, recently treated to a Fender 62 'RI pickup [url="https://soundcloud.com/cherrywhitemusic/ashdown-lb30-demo-frankenbass/s-FZOh3"]https://soundcloud.c...kenbass/s-FZOh3[/url] - "Aradia"; Frankenbass constructed from bits I found on eBay, sporting a Tonerider Jazz Bass neck pickup. [attachment=188074:brendaAndAradia.jpg] (l-r: Aradia, Brenda)

Correct me if I'm wrong - not owning a 5-string and all - but weren't the 35" (and longer) scale lengths introduced as a way of putting extra tension into the B-string to make it vibrate properly? If so, you might be thinking along the right lines!

Why torture yourself? I understand you want to forge your own route, but surely it won't hurt to incorporate elements of other players you love. Or, to look at it another way, buy a jazz, go on a Jaco bender to end all Jaco benders and get it out of your system! You may find it adds something to your own style, or you may find that once you've had your binge you no longer have such a burning need to play it.

Having played the Enterprise once or twice myself, I could second a lot of the points already made on this thread! Still, some practical advice, because I'm sure your bandmates won't like it if you go back and tell them that you think the gig's a turkey because some people on the internet told you so! [b]Find out who the other bands are. [/b]I understand your friends from Stornoway are sharing the bill with you, but what about local support? I've no idea how big your band is in your area, but I'm going to hazard a guess that you're relatively unknown in London - please correct me if I'm wrong. If I'm right, you're probably going to be relying on the local support bands for an audience. (Unless ITB can show you a hefty guestlist of people they've rounded up to come and see this "showcase," though if they had such a guestlist, this event wouldn't be at the Enterprise, quite frankly.) Then, [b]find out if there's going to be any scope for you to make money back[/b], either through expenses payments, a door split, or even a fee. [b]The next bit requires a bit of intuition on your part: [/b]investigate these bands. See how long they've been together and what's on their website, stalk their social media; any information that might give you some impression of how many people they might be able to attract. If there's going to be a split of the door takings, this could be a crucial decider in whether to take the gig. It will also give you some potential figures with which to back up your decision! It does sound as if you might be the only member of the band who's wearing his "business hat" about this. I don't need to tell you that the streets of London are not paved with gold, but it sounds like the others may need some convincing of this! Ultimately, don't do it unless you are going to get some tangible return on your investment - my first impression is that you won't, but then I am acting on limited information.

It certainly has! I guess, after I told myself I didn't need to buy any more basses at the end of last year, my mind naturally turned towards my amps...