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I wouldn't have thought the words "Ashdown" and "Top end" would be associated with one another.

[quote name='BassTractor' timestamp='1339363636' post='1687586'] Now I've done some thinking, and sadly I have a hard time really understanding where you're coming from. Already being a guitarist and being able to play some rather demanding stuff, whilst being fairly lost at making bass parts (if I understood you correctly) to me seems like a possible case of demanding too much of yourself and of the formal correctness of your bass parts. But I'll give it a go, at the risk of condescendence, and of hitting If I'm correct though, I think a theoretical approach is counterproductive here. In that case, I think you rather need experience in hearing that things can work without a load of formal demands being answered. As to a pedagogical approach in this, here's what I propose: As others have said, start with listening to songs in the same style and how bass parts are done. When playing yourself, go through a quick process if needed (as per your question): - Use root tones to begin with. - Make rhythmic patterns with the root, and then also with its octave. - Exchange tones for other tones, trying to avoid the fifth (a fifth is no statement - a sixth is) - Soon you should have nice snippets that you can just use as they are. - Echo small elements from other parts: a rhytmic element, some intervals (also diminish or augment them - play with this), a melody snippet, etc. - You have ears. So if it sounds good, it is good, at least for the time being. Just tell me if I have been an idiot. I'm very open to the idea that I hit the wrong ball in the wrong court, and sent it the wrong way to boot. [/quote] I think you've done a brilliant job of getting all the vital bits of what everyone has said & making them logical. Now you know what to do, have fun. That's the important bit!

[quote name='Skol303' timestamp='1339359195' post='1687462'] Well I'm always on the lookout for juicy, low-end synth sounds! If you ever want to collaborate or lend some noises to my own creations then get in touch anytime. [/quote] I might just do that some time.

Blast from the past! Where's TIM these days?

Here's somewhere with things to build... [url="http://experimentalistsanonymous.com/diy/index.php?dir=Schematics"]http://experimentalistsanonymous.com/diy/index.php?dir=Schematics[/url]

If you can solder, it's fairly simple to make an A/B line selector (of the simple variety).

[quote name='jaydentaku' timestamp='1339183182' post='1685148'] LOUD NOISES! Hell's Bells, its loud! [/quote] I take it you're a little surprised at how loud a decent combo can go?

It comes with practice. If you're adding basslines to written songs (where the chords & vocals are all in place), then listen to the song several times without playing any bass or even thinking of a bassline, then you'll start to hear a pattern from the music & the vocals that you can adapt on (usually the notes aren't there yet, if you know what I mean). You'll hear where can be synchronised & where parts could be changed for all the band & so forth. A lot of the stuff I do works with the vocal line, either harmonising a melody or just reinforcing what is sung. The more you write stuff the better you get at it, just like playing bass.

[quote name='steve-bbb' timestamp='1339139139' post='1684124'] yes yes but they are also a total mindf*ck as a bass player standing next to a drumkit thats making no acoustic noise and youre hearing the drums only via the PA and dont get me started on the rubber cymbals!!! sound nice yes but me no likey [/quote] Very true, but Rubber cymbals do have one major advantage... They won't make you deaf!

How about a diatonic Harmonizer that has a silicon fuzz? I think a splitter/summer that has multiple outs/ins with a filter on each out. So for example, if it had 3 outs, you could have the 1st out so it just sends lows (stuff below 150hz), the 2nd sending at @ 3-400hz & the 3rd sending the higher stuff (all filters adjustable with just one or two dials) so you can put different effects on each & then sum them back together within the said pedal. Each "in" with a level control to balance them up & maybe the ability to invert the phase on each one too. It's the only thing I can think of that hasn't been made yet.

Do some folk just not know when they actually can't sing? & does anyone else in the band think she can sing!

Hotrods FTW! Other solution is an electronic kit. Can get Roland & Yamaha ones at a decent price now & they sound awesome.

There's plenty of em in Stirling! Sorry I can't help.

I can't use an angled jack plug on my bass as the wire would stick slightly upwards & away from the body & the minute you bump it, it pops out (Yes, I did actually try it. But not at a gig).

Have a look in SoundsLive. [quote name='JakeBrownBass' timestamp='1331470459' post='1573199'] Having fun with these today Recording sampling for songs next week! [/quote] What's teh SH-01 like? I'm considering one.

I'm not gonna be leaving the forum anytime soon. Still make plenty low end with a synth!

That's a nice rig & a logical step from the EB. We all start with smaller gear & it progressively gets bigger & bigger & then gets smaller again! Enjoy it dude.

My idea of a synth is something that you can make your own sounds on. If you can't do that then it's not a synth, it's a keyboard (possibly an expensive glorified one at that! ). Looking at ideas around the £1k mark (& whatever extra I have goes on active monitors & a stand). So far I have been looking at... 76 or 88 key remote keyboard from CME (the Z-Key) with a decent rack/desktop synth or two. Roland Juno Stage. Korg M50 73 key. Yamaha MOX8 (probably 2nd hand to keep it in budget). & also considering 2nd hand units & getting a couple of things. The bass & gear sitting there is just frustrating the hell outta me as I want to play in a band, but can't. Soooooo frustrating! I'll sell it after my wedding.

Find a local(ish) band that use a Markbass rig & go see them. There's bound to be someone on here not far from you with MB gear. Another option that I would also look at for cabs is Barefaced. Alex isn't posting on here as much as he used to, but the reports I hear about his cabs speak wonders. If I was changing my gear, I would probably go for another Markbass head & possibly a Super 12 or a Big Twin (if I had the funds too).

[quote name='0175westwood29' timestamp='1338996515' post='1682143'] just to add something else to this would 500w drive two of the 410's ok? as the cabs are rated 800w? and they only be getting 250w each? andy [/quote] Don't worry about the watts, they have nothing to do with how loud it will go. If you're not sure, go & try some out. Still not sure why you're wanting 4x10s though?

Quality.

[quote name='0175westwood29' timestamp='1338987611' post='1681989'] yeh i kinda just ignored that bit? andy [/quote] Maybe he's Welsh?

[quote name='Prime_BASS' timestamp='1338979339' post='1681825'] Coupling effect you get from the cab being on the floor, next a wall in [b]yst ctuiryytiurotrrnetr[/b]. [/quote] I just don't understand this. What does it mean?

[quote name='Prime_BASS' timestamp='1338933776' post='1681460'] I have just finished a review in the review section of the Traveller 2x10. Personally if you feel you need more than one 4x10 then one 2x10 won't do you. My plan is to get another and stack vertically so the bass is closer to my ears so I'm not struggling with volume when stood essentially on top of it. It is still damn loud though on it's own. [/quote] The Traveller cabs are a trade off between portability & sound. The 102HF has a cab about twice the size & produces a good deal more bass, but at the expense of not being as portable as the 102 Traveller. Still doesn't stop the Traveller being a great little cab.