cybertect

Hiya [quote name='andydye' timestamp='1375627670' post='2163586'] Welcome to g.a.s. central matey! [/quote] You should try hanging out on some photo forums

[quote name='discreet' timestamp='1375639126' post='2163772'] At least it's got that chrome handle to stop anyone from actually playing it. [/quote] Meanwhile, somewhere in America, someone is having trouble opening a bathroom cabinet door...

I started on guitar in my mid teens with a Satellite Les Paul, which was about as nasty as could be imagined. Glad to be rid of it when it was replaced with an unusual Epiphone Genesis. My fist bass playing experiences a few years later were with a borrowed early 80s Squier Jazz, which was lovely. The first bass I actually owned was a 1967 Hofner Verithin, purchased from a mate for £200. I still have it; as a mid-60s semi, it doesn't have the breadth of tone or sustain of my Musicman Sabre, but it's fun to play with a great neck and very light. Not that I've had much experience of £3,000 basses, butI can't really see myself ever justifying spending that much on one.

10 Kg!? Cripes

And it's not Kim Deal, either.

Heheh. 10 Internet points for the person that guesses correctly which famous bass player my fizzog has been likened to (though I'm not sure he's ever been seen in a Ben Sherman shirt quite like that one) [Img]http://www.summerislerecords.com/davidfisher/Images/12bar16aug02/12bar04.jpg" class="ipsImage" />

[quote name='shizznit' timestamp='1375448886' post='2161547']I thought it could have been the bass (Lakland 55-02) but after wasting almost two hours to drive back home to fetch my Fender J there is still no joy[/quote] rather suggests not

[quote name='bonzodog' timestamp='1375373797' post='2160518'] You also have to remember that we, as bass players listen out for them more. Memorable bass lines to me don't necessarily jump out of the song as being the main riff. So a memorable bass line to a bass player is a lot wider than to anyone else. Its surprising how a lot of the 'joe public' do'nt know what the difference is between guitars and basses. When I have told people I play bass in band, it surprises me how many people ask me to play something they'd recognise and I have to show them 'Town called Malice'.Even then they say they didn't know that was the bass. [/quote] I've always admired the beautifully controlled bass on Tasmin Archer's 'Sleeping Satellite' - it's one of these songs I mentally reference when I want to build up from nothing at the beginning of a track. http://youtu.be/NYqh6_GLwU4 Edit: (the amazing) Danny Thompson is the only credit for bass on one track on the rest of the album, but there's no bass credit for this song http://www.discogs.com/Tasmin-Archer-Great-Expectations/release/2069272 Is that really a Fairlight? :-/

[quote name='Happy Jack' timestamp='1375274702' post='2159086'] Yes, they stopped making the Orgasmatron too ...[/quote] That's the [i]Excessive Machine [/i]from [i]Barbarella[/i]. The Orgasmatron was in Woody Allen's [i]Sleeper[/i]

It's one of those things I vaguely recall hearing about many years ago, but I've never actually seen a picture of one before.

Found a vid of one being used on a guitar [media]http://www.youtube.com/watch?v=7c2hAoDePiQ[/media]

http://en.wikipedia.org/wiki/The_Gizmo [quote][color=#000000][font=sans-serif][size=3]The actual device, a small box which was attached to the bridge of the guitar, consisted of six small motor-driven wheels with serrated edges to match the size of each string. The continuous bowing action was activated by pressing one or all of keys located on the top of the unit. Pressing a key would allow the wheel to descend against a motor driven shaft and bow the corresponding string, while the other hand remained free to fret single notes or full chords. An extremely powerful sound could be created that changed dynamically depending on how hard or soft the wheels were pressed against the strings. The sound was also affected by the type of guitar strings (round-wound or flat-wound).[/size][/font][/color] [color=#000000][font=sans-serif][size=3]Two versions were planned - one for guitar and one for bass. Ultimately few Gizmotrons were made but bass versions were produced in a much larger quantity than guitar versions. Only the guitar version was used by Godley and Creme and 10cc in recordings.[/size][/font][/color][/quote]

You could always save yourself the bother of polishing it - go entirely the other way and patina the whole surface completely. Oxidised copper is pretty cool. https://www.google.co.uk/search?q=oxidised+copper http://m.wikihow.com/Oxidize-Copper

Can't say I've ever noticed any difference in tone with different cables. That said, cheap cables are a false economy IME. I went through any number of cheapies when I was in my teens and then splashed out on some Whirlwinds at the end of the 80s. I'm still using them now.

[quote name='Geek99' timestamp='1375097151' post='2156575'] I think he is asking about some kind of joinmyVIRTUALband.com rather than where to publish it ? [/quote] If you're after that kind of thing, I found a rundown of services offering actual live online jamming (published June 2012) http://www.makeuseof.com/tag/how-to-jam-with-your-band-online/ I've not tried any of them, BTW, so YMMV.

It might not be a manufacturer's brand name - I wonder if it's a Christian thing if it's been stamped on? The icthus (fish) was used as a symbol by the early church and is still used today.

Probably shouldn't let this thread pass without a reference to the first incarnation of the band, with Jim McCarty and Keith Relf of the Yardbirds on drums and guitar/vocals, together with Relf's sister, Jane, providing additional vocals. Louis Cennamo played bass. http://youtu.be/Y0Kb7AAW8_8

I think the question is further from learning to read a book and closer in spirit to storytellers learning stories or poems in oral traditions like the Norse sagas or Grek myths. It's a question of internalising the narrative well enough to be able to perform it to others, perhaps adding your own interpretations and changing it along the way. 'How do you learn to read a book' would better equate to learning to read music notation of some kind. Get good enough at it (if the words/notation are capable of describing the piece accurately) and you barely have to be familiar with the original before you can translate it from the written to the aural form.

I should put in a good word for Donald Fagen's first solo album, 'The Nightfly'. Tracks like 'IGY' and 'Walk between the raindrops' never fail to put a huge grin on my face. It's wonderfully produced, too. One of my reference albums when trying new audio gear.

Maybe not the whisky for much longer... :-/

The first time I was aware of him was after I bought a copy of The New Seekers' album 'Circles' (it had a fascinating folding circular cover) for a few pennies at a jumble when I was about ten or so, circa 1977. On it, there was a cover version of Todd's 'I Saw The Light', and I remember taking particular note of his name as the writer. It might have been the beginning of my being a bit obsessive about reading LP liner notes in later years... Anyhow, here's Todd's version; a cracking pop song. http://youtu.be/WxB4weCzqGE Listening to it 30+ years later, it sounds to me like it could almost have been written by Carole King, which is praise indeed (weirdly the vocal also sounds rather like her )

[quote name='Mickeyboro' timestamp='1374343289' post='2147888'] Hermit of Mink Hollow = genius. Much of the rest = overproduced dross. IMO of course! [/quote] Despite some differences with the band, he did a fine job producing XTC's 'Skylarking'. With the distance of time,I believe even Andy Partidge has come round to liking it.

I still prefer to listen to albums in their entirety, even on my iPhone/iPod. Rarely, if ever, skip tracks. Love Steely Dan - The band I'm in took 'Rikki Don't Lose That Number' out for a spin at a gig last week. It's been fun learning it.

I'm not a Logic Pro user, but here's my 2p on uprades and Apple's licensing model [quote name='MisterFingers' timestamp='1374140558' post='2145649']Absolutely...until you have to upgrade because you want some increased functionality or plug-in that you can't install on your set-up, or your files become incompatible with other systems. I had a recording session at a mate's at the weekend and he's still using Logic 5 on Win XP - absolutely no issues and of course I can seamlessly open the song on LP9 on the Mac to correct our er...'interesting' chops. (although my awful fretless intonation is a challenge to fix in the mix). To be honest I really detest the whole upgrade culture that we have - phones, cars, furniture etc. Basses are (natch) different though. [/quote] Absolutely my preference to skip a few versions of an application if I don't find a compelling reason to upgrade. As has been mentioned earlier in the thread, the price of Logic has dropped dramatically since Apple put it on the App Store - I'd hazard a guess that the entry cost is now roughly in line with the upgrade price for earlier versions. It also means that there's no penalty for skipping versions if you don't want them. There's been an increasing trend with software to allow you to get an upgrade price only if you have the previous version, or the one just before that - skip more than one or two versions and you pay full price to get up to date. Certainly it's better than the approach Adobe are taking with their Creative Suite - which has been to abandon milestone 'versions' entirely and switch to monthly and annual rental with (promised) incremental improvements. If you stop paying £17.99 a month for it, your copy of Photoshop stops working. I've had a licence for Photoshop since 1994 v upgrading every two or three versions. PS CS6 may be the last as I can't justify a monthly fee simply to maintain access to my files, when I'm not using it as a full time professional (clearly Adobe have made a business decision that they don't need or want users like me) One other change that came in with distribution through the App Store is perhaps a little less visible as it's buried deep in the App Store T&Cs - as an individual user, you can install Logic Pro (or any other purchased App) on as many computers as you own. [quote=Apple]MAC APP STORE PRODUCT USAGE RULES Except as otherwise set forth herein, (i) If you are an individual acting in your personal capacity, you may download and use an application from the Mac App Store (“Mac App Store Product”) for personal, non-commercial use on any Apple-branded products running Mac OS X (“Mac Computer”) that you own or control. (ii) If you are a commercial enterprise or educational institution, you may download a Mac App Store Product for use by either (a) a single individual on each of the Mac Computer(s) used by that individual that you own or control or ( multiple individuals on a single shared Mac Computer that you own or control. For example, a single employee may use a Mac App Store Product on both the employee’s desktop Mac Computer and laptop Mac Computer, or multiple students may serially use a Mac App Store Product on a single Mac Computer located at a resource center or library. For the sake of clarity, each Mac Computer used serially by multiple users requires a separate license.[/quote] For those of us used to the 'one computer, one license' (and hardware dongles of old) it's a pleasantly relaxed approach.

As I'm new here, here's my '79 Sabre, which I've owned since 1994. I was after a 'Ray, but they were slightly out of my price range; I found this for sale at £800 in a shop on Denmark Street and fell in love. The salesman said they'd bought it from the bass playing brother of a fairly well known British jazz guitarist, but much to my embarrassment I've forgotten who it was. It's certainly not led a sheltered life, but it plays fine. I've not really felt the need to get a Stingray since