ambient

[quote name='RhysP' timestamp='1454328629' post='2968564'] No Van Morrison either...... [/quote] Well that's a relief . It does look good, I'm definitely going to get a few. I have a few vinyl albums, even though I don't have a player. I was lucky enough to fulfil a lifetime dream last year, and have some of my stuff released on vinyl. There's something magical about them. A decent turntable is high on my list of things to get.

[quote name='thebassist' timestamp='1454281598' post='2968283'] This piece is magnificent in my opinion. I love it mate. [/quote] Thanks ! It's weird doing stuff like this. You finish it and it's such a relief, like a weight has lifted off you. I just hope the examiner likes it .

Nice ! I'm all for bass not sounding or being played like 'it should'

I tried a Hexabuzz bass a few years ago, it was quite simply amazing. Nice video.

What a great video. I think you've certainly demonstrated the capabilities of each instrument. I owned a Modulus Q6 until about 6 weeks ago. I currently own a Roscoe SKB3006. I think, from my experience, and your video, I think confirms this. That the Modulus is a very 'neutral' sounding bass. I used to use mine in a similar way to how Steve Lawson uses his, swamped with effects, to create soundscapes. The Warwick sounds best for the rockier part, it has a sound that cuts through better than the others. The Modulus seemed to get lost somehow there. I've never liked Spectors. I mostly play jazz, and my SKB3006 seems well suited to this. It has jazz pickups, and a birds-eye maple fretboard, so it's quite a bright sounding bass.

He is very good !

Jimmy Haslip and one of my tutors at uni plays upside down like that too. I guess you get used to it, the same as playing the 'regular' way.

I'd never heard of him until last week. Steve Lawson posted some video of him playing at NAMM.

Transcribe is really cool. There's no need for anything else. Just drop the song into it. You can slow it down, and isolate just a note or section, and have it repeat. It's free too.

[quote name='Schnozzalee' timestamp='1454246314' post='2967785'] I'm not a fan of 5'ers As mentioned above the extra width on the neck lessens playability and I think the tone of a B string is useless!! Sounds like a crocodile belching. It's annoying if you're trying to cover a song by someone using a 5'er, but you're fine if you can pass with a D-Tuner. [/quote] I've never heard a crocodile belch, so I can't comment on that. The tone of the notes on my B string is exactly the same as the tone on my other strings, which is great. How much wider is a 5 string neck than a 4 string ? Maybe a centimetre at the most. I don't personally see that as having any real detrimental effect on the playability of a bass.

[quote name='Jazzjames' timestamp='1454255141' post='2967869'] At the end of the day everyone here (me included) could probably get better results by just learning to play the instrument better, however many strings you prefer. Jamerson used 4, sounded great, Anthony Jackson uses 6, also sounds great. The reason they both sound awesome? Because they are masters of their instruments. [/quote] I totally agree with this. No amount of pedals or new amps will make any difference if your playing is let down by your inabilities.

[quote name='fretmeister' timestamp='1454145858' post='2966834'] I don't see the point of starting on a 4 if you intend to move to 5. That's likely to be more confusing. It's as weird as starting on a tenor sax when you intend to move to an alto. In fact it's more weird as a 5 will do everything a 4 can, rather than the limits of the woodwind range. Get the one you intend to keep going with. [/quote] Totally agree. One of my students went and bought a 6 string as his first bass. He's a big Dream Theater fan.

The power supply is also included in the UK models. There's erm..............one for sale in the sales section at the moment .

I'm a bit disappointed with the new album. I saw him at the Hammersmith Apollo about 4 years ago, it was an amazing gig. The live stuff, like the album art work is down to Lasse Hoille.

The Pigtronix is pretty good. I did a lot of stuff on my last but one album using one.

We had a guest lecture at uni a few months ago from JJ Jeczalik who was in the Art of noise, and co-produced a lot of this. He was given the country's one and only Fairlight by Trevor Horn, and told to work out how to use it, and make some money from it. He's a really cool guy, and was talking about the making of this album, particularly the single Relax. The band themselves could barely play, and they'd exhausted all the session players in London, trying to get the single to sound 'right'. Trevor Horn was getting very demoralised with the whole thing, it'd cost him a fortune to sign the band, and for all the studio time. JJ stayed behind in the studio the one night, with instructions to pack everything away, instead he started sequencing some of the recordings through the Fairlight. He'd got it playing back quite loudly through the monitors, when Trevor Horn came back heard it and loved it. The rest is history.

[quote name='blue' timestamp='1454119642' post='2966741'] A cool bass is whatever you think a cool bass is. Blue [/quote] That about sums it up.

It takes a bit of adjustment, but not a lot. When I bought my first 5 string, I spent a short time mentally preparing for playing a 5, such as visualising the new notes etc. I really don't think there are any cons to playing a 5 string. You have more notes, you don't need to down tune or transpose lines to play some songs. It makes reading gigs slightly easier, I find anyway, because I can play across the neck, rather than down. Most of the notes that you use regularly are available without any real position shifts. Five string basses look cooler too, 6 string basses look even more cooler .

[url="http://basschat.co.uk/topic/271667-why-do-we-play-so-loud/page__st__90__p__2893124__hl__why%20do%20we%20play%20so%20loud__fromsearch__1#entry2893124"]http://basschat.co.uk/topic/271667-why-do-we-play-so-loud/page__st__90__p__2893124__hl__why%20do%20we%20play%20so%20loud__fromsearch__1#entry2893124[/url]

[quote name='DiMarco' timestamp='1454107994' post='2966651'] Short answer to "Could you turn your backline down a bit?" is NO. Band runs the show, not the soundguy. He will not get sub lows coming off the stage. We can haz shelving EQ cutting off any subs from the bass stack on stage. Why do we need a 250w all valve head? Because we can and it sounds dope. Next. [/quote] I'm not trying to be rude, but that's plain daft. If you go to the trouble and expense of employing a sound engineer at a gig, and he tells you to turn down, it's for a reason. The usual reason being that he, and therefore the audience can hear your amp over the PA. He's there to control the sound, if he has no control over the sound, then he can't do his job, which makes your employing him a waste of money.

[quote name='JohnFitzgerald' timestamp='1453570380' post='2960685'] Did a gig last night in a place in Glasgow called King Tut's Wah Wah Hut. Always wanted to, it's quite an iconic venue. During the sound check the engineer asked if I wouldn't mind turning my backline down a little as it was messing with overall front of house levels. I totally understand why he'd want me to do that and promptly obliged. No problem at all. Here's the thing. I was one approx 1/4 on my master volume with the input stage just short of clipping and EQ flat. This was all into the 125w (no extension cab, so 8 omh load) of my Markbass 1 x 15 combo. It was certainly loud enough for me and I'm sure he did a grand job out front. Here's my question. Why is it we need amps of several hundred watts or even thousands and, more to the point, why do we need higher SPL from the speaker than that very modest amp will provide ? What is it that all you guys are doing that means you need such high sound levels ? I'm still not sure I get it, after all this time, sorry for being a bit dim here. [/quote] I posted a similar thread to yours before Christmas. It baffles me.