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That's a nice bass you've built. I've been giving serious consideration to doing a build course. Bailey Guitars in Maybole do build courses & have considered that. The thing that appeals about the bits idea is that I can spend more time on it as & when I want. If I get a 5 string body & neck I can spend time preparing them & getting them how I want. There's a couple of decent bodies on the Warmoth site that would suit. Is there a UK distributor for Warmoth or would I need to ship from the US?

I've been planning on getting a new bass for some time now but I'm still undecided. I was going to get a custom made luthier bass, but I'm liking the idea of getting all the parts & putting together my own custom job. If I go down this route, I plan on building a 5 string Jazz or something similar that has a wealth of parts at it's disposal. Other options are to get a body cut & routed that will take fender fitting necks (easy to get hold of & can try Jazz or P bass necks to see what I prefer), or to get a bass with a straight thru neck that has nothing on it (no p/us, pre amp, etc). Anyone any ideas on doing this as opposed to the luthier option? I was looking at Warmoth & a few other similar places & found these... [url="http://www.mercasystems.com/"]http://www.mercasystems.com/[/url] Anyone heard of them? They're Spanish.

Welcome to the forum Garry. I used to be a Stirlingite (or whatever we're called), but moved up here. The music scene in Perth is pants too. Most of our gigs have been in the Dunblane area! We did a support gig in the boating club in riverside which was a good little gig a few weeks back, but other than that we haven't played in Stirling.

Another British Luthier that I mentioned elsewhere is Baileys Guitars. No idea how good they are tho.

Yes, I noticed that there was bits missing from a few songs as well. I doubt I'd pay for this as I learn the majority of songs by ear & if we cover anything then it is our rendition of what we think the song should sound like as if it was us who wrote it, we don't try & clone the original

Never seen it before, but is it just me or is their "Expert" section a bit on the Easy side? Still, good to find some tab that's not miles away from the actual thing for a change.

[quote]The Moog recommended above isn't especially good as an envelope-following filter IMO, but is useful as a static filter for making synthy sounds, or doing manual sweeps with an exp. pedal.[/quote] I haven't really tried many other envelope pedals, but I found this follows pretty well & also link the env out to my murf to get some interesting effects that depend on how hard I play. Might depend on the level coming out of the bass? I usually have the exp pedal into the resonance amount to add how much squelchyness I want. [quote]Where from? Most places I've seen are £200 without the expression pedal![/quote] I got mine from a local music shop for £149 & got the pedal from DV247 for @ £30. Got a tap tempo for the murf which hardly gets used I need to play with it more!

Moogerfooger MF-101 with exp pedal = £180. Does some lovely sounds but some folk don't like the tone suck, I like it for the subbiness & moog sounds

I think in this economic climate they could build Marshall gear back in the UK & still have cheap labour but with higher skilled staff (people who know what a soldering iron is or what "Quality" actually means).

Just a thought... Would a virtual psu work on an active bass? That is assuming you had room in the cavity for it or it had a long enough wire for you to put it on the strap! It's something I've never tried (only due to not owning a virtual psu).

I feel your pain on this. 2 options... Trading standards as said before, or Superglue in the locks of the scumbags' shop shutters when they're down.

Err, sounds like it's a waste of time going to Leeds for a music shoppe! I'm off to York at the end of Sept & hope there's somewhere 1/2 decent (surely there must be).

I'm surprised no one has mentioned lower end Ibanez basses! They're surprisingly good for the money in both sound and build quality.

I usually spend ages looking at the bass & checking notation & just how it feels. Then I see how long I can play the bassline to "The Void" by the Beatles before I get chucked out!

I found learning to slap can take ages. I gave up tonnes of times & had been playing bass for a good 6 years or so before I started to get anything that resembled a 1/2 decent slap sound (a bit of higher ground). I'm still no great slapper & only have a couple of songs that involve any, but I do enjoy it when I do. My advice, as Lylodile say's, start with a thumb, then a finger, then get your deads, then bring in another finger & in 10 years time you might be as good as me!

I don't see how slap can be described as cool or uncool, is picking cool or uncool? To me it's a way to get the sound from the bass that suits the song, whether that be picking, slapping, tapping or fingering (I do like a spot of fingering :brow: ) or whatever else needs be. I am partial to a bit of overdriven slap with an envelope played at a slow to moderate tempo. Some might call that uncool

[quote name='skankdelvar' post='535702' date='Jul 8 2009, 02:19 PM']I just start with the roots and some really easy transition passes. After that, I'm not really competent or interested enough to plan a bass line. Once I'm playing the song with a band, I just sort of turn my brain off and think about other things, like "What's for tea?" or "Are we going to get canned off?". At that point, more interesting stuff just kind of emerges by accident. Trouble is, this means I rarely play any song exactly the same way twice.[/quote] Are you sure you're not really a gu*tarist that bought a bass by accident? The Gu*tarist in my band is just like that, comes up with some fantastic stuff but we could play the same song 20 times & to him it would be 20 different songs!!!

I find myself writing basslines for new songs that take me ages to get right & then when I play them to the band we re-write everything & give it a different chord structure, so bits of the bassline remain but lots of it is different. A bit of a pain when you spend a few evenings getting the tricky stuff perfected! Infact, one song that we have been working on (for the past 6 months or so) has only about the first 10 notes from what it started life as & each time we pick it up we change a chord here or there which buggers up most of what I'd done prior.

If I count my Vox thing that hasn't seen daylight for at least 10 years then you can make the total = 1541

I haven't tried the aggi combo you mention (didn't know they did one) but I've tried aggi gear & although I would agree the cabs sounded great, did not have a big difference from my combo for clarity. My combo still amazes me at gigs.

Love Tina's bass playing (one of my influences), but I always find myself skipping past this song whenever I listen to Stop Making Sense (too cheesy for my liking). +1 on Tina's playing & her voice.

[quote]You'd also need a tap-tempo tremolo to get the pulsing effect in time with the beat.[/quote] Moogerfooger Bass murf with the tap tempo would do your job for fuzz & tremolo. There's a s/h MF105b on here & any non latching footswitch would suffice. I use mine as an overdrive for loads of stuff.

Why not have a wee ask about just now & see who's available (provisionally) then get back to her & ask what her plans are there & that you know a wedding band that she can have a listen to (hopefully on tinterweb) that can play? Gets you prepared early with a yes/no rather than coming back not finding anyone after saying you'll look for her.

Would Basschat not be a good place to try & find her a wedding band? It would give her an option if she hasn't found/got time to find a replacement & would show that you care.

[quote]I like Garageband but I don't think it exports mixes very well.[/quote] That's the only problem I have with GB. However, you can do all the work in GB & export each track individually (which appears to export fine for some reason) & then pop em all into reaper to mix & polish. I've been doing this & find it a much better result (& I'm deaf!).