ambient

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.

Cool is a relative thing. One person's cool is anathema to someone else. I don't see anything cool in Fender P bass, but that's just me. I saw this photo that a friend had posted on Facebook easier, and I thought, wow that's cool. [attachment=210987:12661982_1636103799986792_6457187210718788957_n.jpg]

You do whatever everyone else is doing. If they seem unsure then take the lead and follow the guitar player so you all come back at the same time.

I'm friends on Facebook with a great bassist called Damian Erskine. He's done this article on No Treble. http://www.notreble.com/buzz/2016/01/27/choosing-the-right-bass-strings/

[quote name='CamdenRob' timestamp='1453968288' post='2964677'] I've not owned a relic but I would imagine I wouldn't be that concerned about it gaining any extra superficial damage... I'd make sure all the important bits were kept clean and in working order, but what's a few extra dents and scrapes, if it's already covered in dings. I do wonder though (and I'm sure someone here will know) when Fender (for example) release a relic bass, is every instance of that bass the same? Do they have identical wear patterns and dings? If not surely that would add a whole other dimension to deciding which one you wanted, to get the one with just the right amount of wear for your taste? [/quote] I think the Pino P ones are all identical to Pino's. I wonder though if they have to keep updating the dents and scratches ?

I think they're now built in China, they used to be built in Italy. Maybe that accounts for the new prices ?

Did you not even get people asking if you were going to do any classic rock ?

[quote name='GrammeFriday' timestamp='1453938742' post='2964582'] For piano, yes - it's a classic technical work - but never thought of it in relation to bass before - might give it a go! [/quote] It's excellent. I heard about it from Janek Gwizdala at one of his masterclasses, he uses it most days.

Anyone else use this in their practice ? I bought my copy years ago for maybe £3. It's a really great little book. The exercises as the name suggests, are designed for piano, but they're brilliant for warming up. They're mostly based around intervals, 3rd, 4th etc. So it's great practice for string skipping and stuff like that. Use a metronome and start slowly, gradually building up the tempo.

[quote name='blue' timestamp='1453930732' post='2964454'] Guys, I'm not old, I'm merely older. I'll never be old. Blue [/quote] I like that I play in a few jazz bands. The guys in the one are aged between 74 and 84. The 84 year old is an amazing jazz guitarist, his stamina is something to behold. I'm the youngest by 37 years. Proves you're never too old.

[quote name='colgraff' timestamp='1453908601' post='2964091'] The Jug is basically a tips jar for the band. A bit like the busker's hat. [/quote] Ah right, around here we use a bucket. You can get PayPal card readers.

I'm puzzled - what's the jug ? When I first saw the title I assumed it was the music venue in Moseley.