Dan Dare

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[quote name='Mykesbass' timestamp='1499721596' post='3333197'] What complete and utter tosh [/quote] You're quite right. I read and find it very useful - you can learn things so much more quickly and easily. Nobody questions the need to be able to read the language, claiming it "limits soul/creativity". However, I wouldn't wish to see an actor reading from a script on stage. It's about presentation. Musicians reading parts in a performance situation can look lifeless - as if they're not really there. Worse is seeing them reading off iPads, their faces illuminated by that ghastly blue glow from the screen. I use parts to learn material, but would prefer not have them in front of me in a performance situation.

About the going rate, I think. Those Chinese Ashdown cabs don't fetch a lot used.

In my experience (such as it is), I find that classical players tend to want the dots as a comfort blanket. They don't actually need them - most are very accomplished - but they have always had them and find it hard to break the habit. If they are willing to try without at rehearsals, they may be surprised at how well they can manage without them. But (and it's a big but) they have to be willing to try. Some I've encountered just wouldn't. If that's the case with your situation, I would think about whether you want to continue with it. It could be very trying.

[quote name='mentalextra' timestamp='1499467882' post='3331804'] Judging by the amount of chart music where huge amounts of autotune are applied deliberately making the artist sound like a robot, i fear for the future of singing? [/quote] Chart music is a tiny part of the totality of music. It may have a high profile, but it is an irrelevance. The "future of singing" is safe. It just ain't in the hands of western chart music and its purveyors.

Let us know what you find. Would be interesting to know what it turns out to be. Incidentally, a pal of mine has a lefty Fender P that works (see your sig). He's added a J pickup at the bridge and it sounds great.

I had a Bugera Veyron as backup. Picked it up mint and used for less than £300. Powerful, light, flexible eq and not half bad sounding. Sold it recently when I upgraded my main amp (at which point, the old main amp became my backup).

[quote name='largo' timestamp='1499420952' post='3331438'] Don't entirely agree with this. A lot of us have come from practice amps to the gear we have now and owned a lot of different gear in between. I've had everything from small combos to 8x10 rigs and so I like to think I can offer some valuable advice. My current rig is best for what I do just now but I wouldn't recommend it to everyone. OP is simply asking for a "better sounding" practice amp that won't break the bank. Personally I'd be looking at GK, Hartke, Fender, TC or even Line 6 for a step-up from your current practice combo, with a 2x10" or 12" speaker depending how loud you want to go. Hope that helps. [/quote] My tongue was partly in my cheek when I posted. However, I stand by my point - that the OP simply must go and try what is available (and within his budget) to get areal idea of what will suit him.

Nice. Dangerous shop, BD. They just give you something nice to play with and that's the budget right out of the window. Enjoy the new toy.

Most things would be an improvement on your practice amp. You really need to go to a few shops and try some stuff out. Don't listen to us. We all suffer from confirmation bias and will recommend what we have.

House backline often seems to belong to someone whose arm the organiser has twisted. I've occasionally been asked if people can use mine. The answer is always a firm no. If I take an old rig I don't care about, there'll be moans. If I take my good stuff, I'll be constantly worrying that some idiot will damage it.

[quote name='ribbetingfrog' timestamp='1499184521' post='3329797'] I sometimes wonder if I'm a freak amongst bass players, I love new, bright strings and boost my mids religiously. Everyone on basschat seems to be opposite. [/quote] You're probably just a bit mutton Jeff...

It crops up in various far Eastern countries and has a variety of names.

[quote name='toneknob' timestamp='1499354062' post='3330969'] Looks like a koto to me. [/quote] Sure is

Buyer pays via PP. "Shipper/courier/whatever" collects. Buyer contacts you to claim item faulty and reclaims money via PP. You can't prove it isn't faulty because you haven't got it, so you're left with nowt.

Let's think about this for a moment. The "original" key was simply the one that suited the artist who originally recorded a song. It isn't set in stone and there is no law that states a song must be performed in the "original" or any other key... Songs may well have been written by the composer in a completely different key to the one that they were recorded in. All the talk of singers "not being able to sing" certain songs is nonsense, I'm afraid. Peoples' voices - particularly the ranges of those voices - are the ones they were born with. Vocal training, etc may help them to be more versatile, but It is inescapable that they will be able to sing more comfortably (and therefore better) in certain keys. As musicians, it's up to us to adapt to them, so that the performance is as good as it can be. Try doing session work and insisting that you will only play songs in certain keys. You'll likely get little work (and certainly nobody will call you twice).

I used pre and power combinations for years. Flexible and fine sounding, but big and heavy. My nicest rig had a BBE pre and between one and three RSE power amps. Went lightweight due to advancing years and general decrepitude. Still have the power amps - use them to drive PA monitors.

Precursor to TE? Worth an email to Mark Gooday (now running Ashdown) to ask if he knows anything about it?

My '72 Jazz. Had it for almost 40 years.

Not too bad a price for a reasonable bitsa. I assume it's all Squier, apart from the neck (although may just be a decal).

No problem. Many amps are rated at peak power - i.e. the wattage they can deliver for a few milliseconds - and most good quality speakers can handle well over their rated power for short bursts (I'd say your Mesa will - they use decent drivers). Provided you don't go mad, you should be fine. The speaker will protest if it's under strain, so you'll get an audible warning before any damage is done (always assuming the drummer/guitarist isn't deafening you to the extent that you can't hear it...).

[quote name='Danuman' timestamp='1498594471' post='3325795'] I'd like to echo the positive statements above. In general the sound engineers I've encountered have been knowledgable and pleasant to work with. In the end we all just want to run a good show. The technical nature of their specialisation I suppose leads some of them to be a bit set in their ways, but I bet bass players are no different! [/quote] Agreed. Many soundmen have also suffered their fair share of players with less than perfect kit and can be wary as a result. That onstage sound that some players like, fed through several thousand watts worth of super clean PA system, can be pretty grim at times.

Weeley, in 1971.

[quote name='timmo' timestamp='1498593391' post='3325787'] You need to be wary of most people with really nice gear. I always wondered years a go how people in my factory drove new BMW's until i heard of PCP. Obviously not all, but there will be a few with nice gear with maxxed credit cards. [/quote] Some of us are just ancient and as a result, have accumulated decent stuff over the years. You start with a cheap instrument and amp, sell it when you outgrow it, add a little money and get something a bit better and so on. Repeat a few (quite a few) times and you have your so-called "dream rig". All it takes is time.