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What's up with your gran?

Good selection of songs there to choose from. What I would do is have a chat with the band armed with these songs, choose what you want & then stick them on your ipod & listen to them until you know them inside out (most guitarists do not do this & prefer to wing it). This is what I do if we write a new song & I get it recorded on some device, that way I can analyse & work out what to do. Another easy song would be With or without you by U2 (infact almost any of their songs can be learned in one run).

I have the combo version of what you're thinking of getting & it weighs 20kg & can be carried with one hand. If you need a clean sound, keep the input level on the head down & increase the output level. If you need a dirtier sound, increase the input level & keep the output level down. I tend to keep the input so the clip light hardly ever comes on & use my murf to get some analogue overdrive. I can't see why the sansamp wouldn't do the job.

[quote name='stingrayfan' post='663859' date='Nov 24 2009, 03:34 PM']It would be the bass that keeps on growing. [/quote] Buy a 4 stringer & in a year you have a 7 stringer? Progresses with you.

[quote name='RhysP' post='663207' date='Nov 23 2009, 09:38 PM']Gibson also polish all their guitars with panda skins, the bastards. [/quote] But the pandas do have good working conditions and are well paid, as opposed to most immigrants! I agree with Beedster, I have a strong view on animal welfare & try to only eat locally sourced organic meat & dairy products & try hard to avoid getting anything where there may have been any animals being mistreated. After seeing what KFC do, I would never go their again. If you can stomach it, search Kentucky Fried Cruelty on youtube.

I'm not an expert in pedals so I may be corrected, but I would have thought that having the compressor before the env filter (or any follower pedals) would make you lose out on controlling the dynamics of the filter due to it levelling the signal out. I don't use a compressor at all after trying a few as I found all they did was ruin my dynamics & add ground noise. I agree with the above order "Pitch Shifting > Dirt > Filter > Modulation > Time based" but deciding how you want them is 1/2 the fun & how you'll find "your" sound.

Brilliant idea, but could be a bummer when it needs a refret!

When he plays with just the index finger & rests his pinky on the bridge it gives me the creeps. How does it bend like that?

You should try & find just one or two musicians just to have a jam with (preferably either a drummer or a singer, or a drummer that sings) & have fun there. Then find another musician (doesn't have to be a guitarist, could be keys or violin, etc) just to jam & see how things progress from there. My acoustic (well almost) band, BigRoom, started this way. Me & the vocalist from my other band (Frigorifico) who also plays guitar & banjo started having a mess about with some ideas that wouldn't fit in our AOR band just for our own fun & then a few months later we got a mandolinist (who plays uke, tin whistle & spoons too) round for a jam & things developed from there. Two & a half years down the line & BigRoom is now our main band & are expanding on it to include a violinist, percussionist and possibly a bouzouki player too. The AOR band has kinda fell by the wayside a bit as quite often there was only 2-3 of us turning up at rehearsals My point is, if you find someone to jam with you can then have fun without the hassles of a strange band & you can also tell that guitard that you have other musical commitments if he brings the reform back up. Good luck either way.

[quote name='Pete Academy' post='659624' date='Nov 19 2009, 08:41 PM']But what if the band member turns up with his composition written out, and the other band members can read fluently? Would the writer be able to convey his newly-written song as effectively?[/quote] This is how classical music is written by most composers (until computers allowed them to chuck ideas down anyway), so yes, it can be done. The person who wrote the song might have to act as conductor tho.

Mostly on full as the envelope filter works better when used if there is a hotter signal going in. I used to have is rolled back slightly, but there's no difference soundwise. Only time I turn it is when I want no sound & it goes right down. An on/off switch would be better.

Every musician has their own style & this is what makes a great bassist. To interpret what is written & make it sound like that is how it goes. If you take two great bassists that can sightread & give them the same piece of music to play, they will both play it the same, note for note & length of time each note is held for but at the same time it will also have "their" sound (due to their finger style & the way they hold the bass & multiple other factors). If they're playing with a band then they would give an indication of what sort of feel it should have. Hope this makes some sense.

Most "grooves" are formed when playing with other musicians, that's one thing, & getting it to sound the way it does depends on the bassist, but the "groove" itself can be written down. Below each note on the stave can be written which finger is to be used (t, i, m, r, p) & can be said to be slap or finger. "h" & "p" on a tie from one note to another indicate hammer-on & pull-off or "tr" for trill & small dots below the larger dots (notes) indicate staccato (which also used with full length notes give that "groove") & X marks a dead note. Like is said above, it helps if you know the genre that you're playing but that's kinda logical. Gotta go, but back soon (hopefully).

Writing score isn't just about putting dots in the right places for the notes. There's note length, rests, timing & multiple terms that help explain the feel or groove of what is to be played. Hope this explains a little. I'll try & get on my mac later & go into a bit more detail(if someone else doesn't).

From what I've found out on this forum is that it's not so much the wattage but how much air is being moved. So in theory a 100w 2x10 combo could sound louder than a 300w 1x12. Personally, I'd steer clear of beringher stuff as you do get what you pay for.

Never been, Kyleakin is a busy wee place tho & it's worth going just for an excuse to go to Skye. Looks legit.

Fetch your ring finger into play. It takes a little practice & you'll say "fijck it" a few times, but it's a useful finger to use on bass. Double thumbing (without making it sound like slap) is another option to get fast notes without a pick, this I'm still not too good at, but practice makes good rock music. As for metronomes, it's up to you. Some folk like em & helps keep timing, other folk can't be arsed with them & make use of a drummer if needs be.

+1 on the LM11. Or LM111?

Mics? Do you want the sound that your cabs make? If so then instead of getting something like MB studio1 or Ampeg plugin thing you might want to consider micing your cab up. I don't mic mine up tho & just line straight from the pedal board & record with either Garageband or Reaper (which was recommended here & I'd recommend it to anyone & is free to use). +1 on getting a decent interface such as the 828 or the 410 mentioned above.

Can't comment on any of the FX mentioned as I've never used em (but wouldn't mind trying some). The Moog MF-101 Does give a more subby bottom end to sounds if you don't use it as a wah/envelope filter & taking a TRS lead from the env out & into the cutoff in with the cutoff set to @ 9 o'clock can give a very good sub/double bass kinda sound. I believe roundwound strings will help on the more sine like sound if, like me, that is what you're trying to attain.

+1 loved Bella Fleck & the Flecktones before I knew of Wooten

Best thing to do is start your own band. You have a wide pallet to chose & you get to choose what you want the band to do. Mines formed by just talking to people. I worked with a folk guitarist who knew a Canadian blues singer who met a jazz drummer in a pub & that's how Frigorifico started.

I think bass needs to be able to add to the song just as any other instrument. Whether that be playing a single note over & over like "the void" or something a bit more technical like "hit me with your rhythm stick" or some flash w@n<ery like "shy boy", take the bass away or put a different bassline there & the punter will notice. They might not know what's different, but they'll miss it if it's good.

[quote name='thumperbob 2002' post='651284' date='Nov 11 2009, 07:44 AM']+1 and I would lower the bass- your wrist needs to be straight- or as straight as you can manage- always seems strange when someone picks up their shoulder- a bit like quasimodo- so lowering the bass I`m sure will put less strain on the wrist. Worked for me - see the dos though Bob[/quote] Another +1 here. That position would suit you of you was a slapper... ...In the Mark King sense.

Bootsy, is that you???