rslaing

[quote name='mrcrow' post='566934' date='Aug 12 2009, 04:24 PM']my garage charges £87 per hour just to drain oil and put in filters i guess a top craftsman doing labour as well may be just as much personally i would go for tone first[/quote] So an oil change and filter taking 15 mins to carry out, would only cost £23.00p? Or is there a minimum 1 hour charge?

[quote name='PapillonIrl' post='563189' date='Aug 7 2009, 11:23 PM']That was quick ! Thanks. Going to do some research now. Any nerdy info on the fuzz sound before I go ? Thanks again.[/quote] Poke a few holes in your speakers with a screwdriver.................

Allegedly Joseph ' Lucky' Scott

No need - you can get everything you want in here

[quote name='Crazykiwi' post='563134' date='Aug 7 2009, 10:23 PM']Rslaing if you're asserting that boutique basses are all the same, this isn't true.[/quote] I am still trying to find the bit where I said the above? I'll try Specsavers tomorrow............

[quote name='Crazykiwi' post='563134' date='Aug 7 2009, 10:23 PM']If you're asserting that boutique basses are the same, this isn't true. There may be a boutique bass out that that Josh likes but hasn't played yet.[/quote] I'm not. What I inferred was that if he is happy with his Squier, stay with it and stop randomly buying gear until he physically picks one up and is happy enough to confidently buy it. I am probably one the main "appreciators" of boutique instruments, but I also understand that they sometimes require the player to adapt to them rather than the other way around. But I also know that if I found a bass, as Josh has with his Squier, that satisfies his demands - why bother spending money (and consistently losing it) on basses just because he might feel he needs a posh brand? It doesn't make any difference to anyones ability as a bass player. Jaco played some really crap Fenders in the 70's (cos some of the quality was poor - I used to sell them) , but the music he produced was still brilliant. Having a great instrument/gear doesn't make you a good musician. Too many people are on the search for the "holy grail" of basses. They don't exist. It's all down to the player and his fingers and musical skill. So stick with what you are happy with, and eventually you will find the bass that you are/were looking for.

[quote name='Josh' post='563100' date='Aug 7 2009, 09:52 PM']Thanks for that Steve. But, I just find it silly that I'm currently sat here with my Squier happily playing to some Stevie and it is almost effortless and the tone is just right (Admittedly some new picks ups would definitely help). All I've ever done to this bass is adjusted the bridge saddles a little, that's it.[/quote] [quote]As mentioned, I've had basses which have been so easy to get my set up and I'm considering tracking down that very Sadowsky or a similar NYC 5 string.[/quote] You have answered your problem yourself. Just don't buy "boutique basses" if you can satisfy your own demands with things you already have. Just concentrate on the music. The notes you produce are much more important, because in 99% of cases, especially for bass players, you will NEVER produce the sound live that you either hear on a CD, or in a recording situation. Just accept it. I have been around a long time, and OCD is a common problem with bass players regarding gear. It makes up around 90% of the posts in this forum, for example. I have a lot of different basses/instruments. Sometimes you have to adapt to the instrument, and not expect it to be the other way round.

[quote name='Josh' post='562989' date='Aug 7 2009, 06:49 PM']2 different brands, both the same gauge though. But I have tried the Smith with a smaller set which I have lying around as well, but still no joy.[/quote] Try the same brand of strings. Regardless of them being the same gauge, strings have a different tension, and this may be the root of your problem.

It's a bolt on - the potential for setup is unlimited, unlike a neck through. One other question, are you using the same brand and gauge of strings on both the Squier and the new one? Also - what is the scale length of your new bass? Is the Squier the same or longer/shorter scale?

It's a bolt on - the potential for setup is unlimited, unlike a neck through. One other question, are you using the same brand and gauge of strings on both the Squier and the new one?

[quote name='Josh' post='562938' date='Aug 7 2009, 05:47 PM']Apologies for the forthcoming rant. I think I'm almost at the end of my tether in regards to basses. I have been through a plethora of high-end basses over the last 6 months or so, and I haven't been able to settle on one for more than a couple of months before I move it on again because of stupid little things that I'm so fussy with it is quickly becoming a problem. I've only had my Smith for barely a week and I'm just about to ready to list it up for sale. While tonewise I can't fault it and love what I can get from it, but after constantly resetting the action over the last few days(Both the neck and bridge) I can not find my ideal and preferred set up. To clarify, my ideal set up is a stupidly low action, with minor buzz and the tension is usually quite low because I dig in a lot, and as such I compensate by playing a full step down. Ironically, my £200 Squier has this action and I achieved it with ease, yet on a £3000 boutique bass I can't seem to get anywhere near it without seriously choking a lot of the notes. I'm definitely not alone in being exceedingly fussy over set ups but I feel that I'm now almost too fussy for my own good. I'm irritated mainly because I've wanted a Smith for long time now and now I have one and was brilliant for the first few days, and now I really can't get on with it already...it's ridiculous. Again. I apologise for the rant but this is just getting silly now.[/quote] Is your new bass a neck through or bolt on?

Seeing as it is 400 yards from my place, I might turn up. Can you tell me at what point in your set you do the Neil Young stuff so I can avoid that bit?

[quote name='BarnacleBob' post='562252' date='Aug 6 2009, 09:06 PM']Be fair, It was TE AH250 with the pretty light (just had to make sure that fan was off!) BB[/quote] Fair play, but regards the fan - questionable.

[quote name='BarnacleBob' post='561796' date='Aug 6 2009, 10:44 AM']I have a fecked back from humping gear BB[/quote] I don't mean to make light of your predicament, but shouldn't you direct your amorous attention to something that is human?

[quote name='RichB' post='561364' date='Aug 5 2009, 06:59 PM']BGM is a bit like bass players themselves. Understated but fulfills an essential duty. Wish it was a bit longer finished mine by 3pm yesterday only bought at midday![/quote] Bargain!! Can't get much for around £1.50p an hour these days. Well, not since I became too old to be a rent boy

[quote name='Pete Academy' post='560427' date='Aug 4 2009, 05:34 PM']Oh, come on...[/quote] Please, don't get involved. It just isn't worth it, even for amusement value

[quote name='Davemarks' post='560282' date='Aug 4 2009, 03:28 PM']I'm only gonna jump in on the issue of Janek very briefly on this... I will preface this by saying he's a mate of mine, but aside from that.... He is a terrifying musician. Think about that. Musician. His ability as a bassist is ridiculous, but this man is a fantastic musician. He plays beautifully, writes with depth and soul in his compositions, can read and transcribe fluently and has a fabulous ear. He plays a wide range of styles with confidence and authority and can put on different hats as a performer, whether as a bassist or playing drums or guitar, and also as a teacher, producer and arranger. How many of us can hit the standard across so many skills simultaneously? I find it hilarious that some musicians who (with no disrespect AT ALL) cannot hold a candle to his skill set, see fit to rubbish on him because he shares his opinions on the world that he finds before him and he does so unapologetically. When a man dedicates himself to an ideal and strives day in and day out to achieve that ideal, that should be an inspiration to all of us, even if that particular ideal isn't one that we hold close to our heart. People think of him as arrogant, because they assume that we're all on the same page and all of our contributions are equally valid. (opening floodgates..... now.) They are not. The problem with the internet is that it allows billy armchair to jump up from his position of limited experience and go head to head with experienced professionals (in whatever field) as if we are all equals. WE AREN'T. I love that fact. Some of us are further down the road than others. I make no apologies for my abilities. I've worked fkng hard over the years for them. A lot of my students look up to me. I know that the level I hit inspires them. I look up to Janek. He inspires the sh*t out of me. I saw him play the last time he was in London and I was blown away. Honestly. It was euphoric. The whole band and the music they made was beautiful. If we assume that we are all equal and nothing is better than anything else, then what do we have to aspire to??? Also... some members ask for reviewers who will 'tell it like it is' about the assembly of a piece of wood and some metal. Don't hold back -we'd respect your honesty and integrity.. etc etc... When a player starts to 'tell it like it is' about actually being a musician for a living and trying to play your instrument well, (wherein they might rubbish some of the ideas of said members) Suddenly you're an arrogant prick. I love it. I stopped contributing opinions on forums a while back for the same reasons. It seems like a lot of people ask questions, not because they want the truthful answers, but because they hope enough (other, similarly uninformed) people will agree with them that they can continue to justify their bad habits and counterproductive philosophies. I love knowing that there are players out there who would clean me out. I read about them, I go to their masterclasses, I try to hang out with them and absorb their vibe if I can. It all makes me a better musician. Fk the bass. Bass is irrelevant. Music is where it's at. To quote my friend richard Niles: "The word 'instrument' is significant. A guitar or piano (or a computer) is an instrument that facilitates expression, like a spoon facilitates drinking soup. The important thing is the soup, not the spoon." He's a great musician. If you don't like his opinion, disregard it. But stop ragging on him. end of rant. d[/quote] I'm waiting for one of the "righteous" to dispute any of the above. Should be interesting. Brilliant post Dave, especially the [i]"It seems like a lot of people ask questions, not because they want the truthful answers, but because they hope enough (other, similarly uninformed) people will agree with them that they can continue to justify their bad habits and counterproductive philosophies."[/i] Thank you.

[quote name='lowdown' post='560006' date='Aug 4 2009, 10:43 AM']Think this is worth a listen and a look, [Thats if you like your big bands] DG's version of 'Something's coming' from West Side story. Superb arranging and playing [well i think so] Garry[/quote] Monster!!!! Best arrangement I have ever heard, and the band really swings too. Thanks for that one.

[quote name='PURPOLARIS' post='559550' date='Aug 3 2009, 07:28 PM']No criticism taken, it just wasn't a very helpful answer that you gave me. It's easy enough for me to think of that myself :-) I'm looking for someone on here that's possibly come across this problem before and how it was rectified, after all it's what this site is for, sharing information etc. There are a lot of experts on this site that might be able to help instead of me waiting until Saturday at the earliest to get my guitar to a music shop. In a nutshell with no string tension the truss rod works fine, under string tension the neck won't straighten, it's as if the truss rod has weakened and isn't strong enough to resist the tension of the strings. I have put it into negative bow before attaching it back to the body and it still bows too much when the strings are tuned. If it means a new truss rod it means a new neck. That is the cheaper option. Simple[/quote] Why don't you PM the Bassdoc? He might be able to tell you what is causing the problem. He knows everything.

[quote name='PURPOLARIS' post='559500' date='Aug 3 2009, 06:37 PM']I know what I'm doing except I've never come across this problem before and I have had a lot of guitars (over 100)come and go. I've never come across this problem before. "Take it to somebody who knows what they are doing..............." doesn't really fall into the simple fix or new neck category which was my original question but thanks for trying.[/quote] Which is why you need to take it to someone who is a specialist and knows what they are doing? It wasn't meant as a criticism. It needs to go to an expert. Then you can take his advice and either have it fixed or take his advice on the best way forward

Take it to somebody who knows what they are doing...............

[quote name='Major-Minor' post='557410' date='Jul 31 2009, 08:28 PM']Rob - I think you have over-reacted to my statements re Aebersold !! I have several of the CD play-alongs and I often use them for soloing practice. But surely you can see that there comes a point when you need to get away from this, dare I say, sterile environment and get out there and inter-react with other players. That is the ultimate pleasure in music making - playing with others, in front of an audience.[/quote] Of course it is. But believe me, the opportunities for budding musicians in a live environment is not as good as you make out. Honestly Certainly not in an environment where someone can push the boundaries a bit. [quote]Everything you say here applies to me too: (I'm not an old school dinosaur .. really I'm not). I have played along with records when i was young, I have transcribed solos. I played in beat groups that put the big bands out of work, I employed synth players in my bands, I do know how to make a CD player work, I can even use a computer ![/quote] It doesn't apply to you at all. But the sort of comment that denigrates Aebersold et al does get spouted by a lot of dinosaurs. Strangely enough, a lot of the old school that have slagged him off over the years have their own playalongs now. [quote]Gigs have never been easy to get, but venues are still out there and promotors can still be found.[/quote] Not for the sort of stuff that goes beyond the equivalent of "Britains Got Talent" or whatever it's called. [quote]If somebody has gone to the trouble of learning an instrument, and has done the CD playalong thing, has studied the theory, the reading, etc etc then surely they should try their hardest to get into a band or 2 and get out there and put all that learning into practise.[/quote] I agree! But unless they use the technology and training materials, they are not going to get the sort of opportunities we did (and I did the Mecca circuit too) to develop. [quote]The Aebersold stuff is only half the picture (and perhaps I was wrong to use the word retrogressive) .... play along as much as you can, but always with a view to doing it for real. Music is a communication between performer and listener. If there is no listener, its a lonely old world......[/quote] Once again, I agree. My problem is that I disagree with people who dismiss the training material out of hand. A lot of them are hypocritical because they used the old 78's but made hard work of learning their craft. [quote]Actually, "live" music is doing quite well at the moment. Maybe not if you want to make money out of it - but if you are happy to play for peanuts, there are opportunities everywhere.[/quote] Oh no it isn't doing well at the moment!! Ask most of the players in the general forum. And because the Aebersold series has a simple but effective approach to developing the interested musician, I will defend it until the cows come home. It's not the be-all and end-all, but the Aebersold series is certainly a veritable help to the budding muso. And until something else comes along, I would recommend anyone who wants a good basic education and to have some "sterile" fun - get stuck in. It certainly makes learning the standards a lot of fun and intersting. And as you know, if a bass player learns inside out, a dozen or so standards, they can play most anything in that genre. As I said, I am not having a go at you personally. But the live music scene is not healthy and anything that can generate interest and develop musicianship has to be a good thing. I have been very surprised at the amount of interest in the Weekly Lesson, but am pleased that I/we can supply information to spark someone into advancing their skills. Sorry if I came over a bit "strong" - it wasn't meant to be that way. But I do feel strongly about music and will defend any "system" that can help a musician, regardless of it's assessed content by people who thing the world is still flat (if you know what I mean). (and I don't mean you Pete!!)

[quote name='Major-Minor' post='554853' date='Jul 29 2009, 10:35 AM']Some of the best jazz musos out there have never fully studied modal thinking. I have spoken to many great players who think the Aebersold methods (and others)are a retrogressive step. Personally, I think the Aebersold (and others) play-along CD's are a great way to practice at home, but they are limited in their scope as the most important aspect of any improvisation (in a group context) is communicating with the other players, listening, reacting to what is going on around you. You can't do that with a CD as the those players can't react to what [u]you [/u]play. I've read Aebersold's Scale Syllabus that Rob so kindly posted for us. As an analysis of improv choices it is very interesting. And I would recommend it to every player. However, once read and digested, forget it and start being creative. The Major[/quote] I disagree. (Sorry!) There are thousands of musicians who have not had the facility other than things like playalongs, books and the like, so that they can develop their playing, and have gone on to become fine musicians. It's all very well for say, an intermediate musician to expand his improvisational ability in a group of similar muso's IF it is a regular thing and the opportunity is there. Problem is, the beginner and person who does not play regularly with competent musicians, will not be able to develop without a different practice strategy. The playalong, or practising to cd's of any type, is no different to the age old method which just about every top musician in modern music has admitted to being the way they improved their abilities. In the old days they had to slow down 78's when they were imitating and transcribing the styles of their preferred musical choices. These days, we are fortunate to have the benefits of technology and should use it. It really is about time that the "old school" changed their dinosaur approach and moved with the times. Half of them wouldn't probably know how to turn a cd player on. This is the samesort of attitude that led to players in the 60's denouncing electric basses and guitars, and synths in the 70's. They were wrong then too. For bass players, the Aebersold series is brilliant, there are playalongs with Ron Carter, Rufus Reid and many others who have recorded and transcribed their bass lines, and for 20 quid, you can play along with fine musicians, learn tunes, and finally turn off the bass side of the recording and do your own stuff. I think it a little strange that any qualified musician should think that Aebersold et al would be "retrogressive". Anything that gives a musician the opportunity to play their instrument (and in this case with some of the best players in the business) can only be an advantage. Maybe in their day, (and I remember them in mine!) when groups of people rehearsed 6 nights a week, or had playing jobs every night of the week, their beliefs may have had creedence. But not now. Musicians don't have the facilities to go and play in "live" situations. So my advice is ignore the comments of the few that maybe had better "live" facilities and absorb as much theory as you can, and put it in to practice with your backing tracks, your theory books etc. When you come to playing with other musicians, you will be much better equipped than if you had not used facilities of modern technology. And when you get to where you want to be, use the technology available to further your skills. You will certainly NOT regress..grrrrrrrrr. I read an article by a great sax player from the North East, Ron Aspery (unfortunately no longer with us), lately, in which he raved about the Aebersold stuff as being brilliant for not only newbies, but experienced musicians. He apparently used them extensively in his practice routines.And you can be as creative as you like. It really is no different to playing with real musicians because the common denominator is IT IS MUSIC!! Whatever you do, keep on practicing.

[quote name='paul h' post='555377' date='Jul 29 2009, 05:55 PM']I am pretty happy with my atrocious keyboard playing through my Toneport kb37 into Reason. It does the job well enough for me. I think I will have a crack at Vocaloid though. Some of the example out there are pretty good.[/quote] I've got Vocaloid, and it is great, but you have to be prepared to spend a fair bit of time and effort editing the notes when you input the words after you have played them in to make it sound "real" I use it with Cubase.

[quote name='Major-Minor' post='554906' date='Jul 29 2009, 11:21 AM']Rob - I apologise for crossing between the two threads we are currently discussing, but the 2 vids on this post, in my mind, vindicate everything I've been saying about modes. The second one in particular where there is no hint of a modal centre. The guys use every trick in the book - I suppose you could call it multi-modal but that would be absurd ! But great playing from these guys - I love this style - very open very free soloing over a simple constant root. And Joe Satriani seems to imply that he will similarly use multiple modes in one solo - thereby negating the idea that the music is modal (in the historic sense of the word). The Major[/quote] Again I refer back to an earlier comment I made. I appreciate that "modal music" as it is thought of today, is not modal music in the true sense of the word. I.E. as it was in 10000 b.c. (I'm kidding). It is not true modal music in the historical sense of the word. Then again, the english language is not the same as it was 1000 or even a hundred years ago. Maybe as I suggested, we should differentiate by calling it "new" modal, so as to accept the definition of modern day players, and to differentiate it from tonal music. What we hear these days is a lot modal scales being used, not necessarily over modal songs or pieces of music. The whole point of the vids was not to demonstrate anything to directly with modal music. They were to demonstrate how some of the top musicians, although demonstrating superb levels of skill and technique, have to ability to drop back in to fairly vanilla commercial stuff if needs be, and still fit in with their playing. It is because they have extensive knowledge that they know what NOT to play when making a buck in other genres.