skankdelvar

The old Nobels TRX trem has pretty much that 'machine' sound when set to square wave modern. By an eerie coincidence, I sold mine to Thunderbird who (due to pedalboard square footage issues) is now moving it on [url="http://basschat.co.uk/topic/234854-nobel-trx-tremelo-pedal-boxed-l25-posted/"]here[/url] in Effects For Sale.

Greenbacks vs Blues is a pretty perennial thread on Vox-related forums. Some people like the Greenbacks, others prefer the Blues. There were loads of threads about this on the Vox forum but they've pulled it down apparently due to 'spam attacks' or something. There may be some cached stuff in google. Either way, one could always buy a standard C2 and drop some aftermarket speakers into it. At which point one discovers a million threads about 'Which Blue clone should I stick in my Vox?'. Tayden and Weber get a good rep and they're cheaper than 'real' Celestion Blues or Golds IIRC.

[quote name='icastle' timestamp='1398192112' post='2431505'] I've tidied this thread up[/quote] Love what you've done with the place. Reads like a proper thread now. Not so sure about the loose covers, though. [i]Floral chintz? [/i]

Very kind! Thank you.

Myself, I've no problem with other band members making suggestions about bass lines, particularly if they are the songwriter. It's their song and their vision so I'll do what I can to support them. Sometimes I may suggest changes to [i]their[/i] parts and sometimes they may take them on board. It's all part of working towards excellence. And as a songwriter myself, I explain to others how I want a song delivered and present initial suggestions about parts. This usually works out well, particularly if one is working with mature musicians. On a few occasions I've had to sack people from bands who refuse to take direction because 'they know best' and get defensively territorial. It's a shame, but if they don't understand the principle of compromise in pursuit of a higher goal they're no use to anyone. As for the OP, I'd bide my time and see how things progress. If it's a question of adding a few Ska-tinged songs to a pop-punk set list then there are plenty of successful precedents. A sudden change of direction to a full, traditional Ska set is something else and suggests a lack of fundamentals. Drastic mission creep is more of an issue for me and usually merits more serious reconsideration than a few unwanted suggestions about parts. Anyway, for the OP's inspiration here are some [url="http://basschat.co.uk/topic/94612-ska-bass-lines-are-awesome"]awesome ska basslines[/url] as compiled by BassChatters a few years ago. [color=#ffffff].[/color]

Having read the thread and its ups and downs, I was expecting some divisively experimental stuff that might cause projectile vomiting. With some foreboding, I cautiously pressed 'Play' in the anticipation that roiling time signatures, toxic blandness or cynical chop-smithery might prompt an irresistible urge to extinguish my vital spark, possibly with painkillers or a small calibre pistol. To my great astonishment I found myself listening to a chirpy, unassuming three and a half minute pop song, distinguishable from its contemporary competitors by a musical execution of uncustomary tightness and a certain similarity of form to British Funk-Pop of the early 80's. It may lack a certain roll in its stroll, but I assume that such was the performers' intention. It is splendid that today's young people find pleasure in composing and delivering a pop song of this type, redolent as it is of the era when cocktails, brightly coloured jackets and white shoes were the nine days wonder. Quite why a blameless little recording has excited such disapprobation as has manifested itself in the course of the forum's deliberations is beyond my comprehension. Dirty Loops' music is not to my personal taste but good luck to them.

Nothing wrong with instruments made from 'found materials'. More visually arresting than bog-standard factory output. Here's some examples from round the web: [size=3]The Orchestra of Recycled Materials of Ceura[/size]

[quote name='Greggo' timestamp='1397838883' post='2427864'] Anyone else seen anything like this?! [/quote] Not as frequently as I would like. On one occasion I advertised a drummer vacancy for a severely rootsy project. One of the requirements was a willingness to bring no more than a snare and a hi-hat. Far from welcoming the opportunity to reduce their work load and gear hump, a surprising number of drummers messaged me to stress the size of their 'Big Kits', to express their mild indignation at 'being told what to do' but nevertheless indicating an interest 'should I change my mind'. Instant disqualification on the grounds of stupidity and thus meriting no reply.

[quote name='Old Horse Murphy' timestamp='1396698548' post='2416521'] Just as I was putting it back on the stand, I spotted this; a Gibson J45 which is something I've hankered for over many years. This one is used, in generally great condition and considerably cheaper than a new one. [/quote] I love the look of J45's. Must try one sometime... Enjoy your new Gibbo!

[quote name='flyfisher' timestamp='1397503016' post='2424604'] Agreed, though I might question 'one of the few' ... I'm sure there are many other examples. [/quote] Good point. The Defence Of Our Realm is partially entrusted to volunteers while our streets are patrolled by Special Constables. Rescue teams and lifeboats are crewed by unpaid experts. In these most hazardous of situations the amateur and the professional work side by side. The entertainment sector is somewhat more stratified: for example, local am-dram groups tend to mount their own productions while professional theatre actors work an established circuit of dedicated venues. Full time professional musicians at a stellar level rarely work the same stages as amateurs and semi-pros (although Mr Clapton has been known to play the odd village hall gig). That the amateur and the professional spheres overlap in [i]some[/i] industries but [i]not[/i] in others is an interesting phenomenon. But pending an unlikely change in legislation I cannot see things changing in respect of pub bands. It is strange that so many lobbied for a relaxation in licensing laws yet the consequence is a pressure on those bands who have customarily charged for their services. On balance, more gigs is a good thing; yet I feel a sympathy for those who have invested in their craft and in building a reputation.

[quote name='Bassassin' timestamp='1397513960' post='2424779'] If Hall's seen this thread, he must be absolutely p!ssing himself! [/quote] [size=3][b]Hall The Merciless[/b]: I feel like raining some gloat down on the fools at BassChat. Prepare my dirigible for immediate departure.[/size]

[quote name='timmo' timestamp='1397497290' post='2424515'] I read every post of this topic in half hour. Do i get a prize? [/quote] Take the BassChat Challenge: Read every post in [url="http://basschat.co.uk/topic/209184-vote-on-rickenbacker-content-on-basschat/"]this[/url] topic in half an hour and win a box of aspirin!

I suppose that the problem (if there be one) is that music is one of the few business sectors where hobbyists can provide services in a commercial environment. One generally does not get hobbyist electricians, plumbers or bar-staff; were that the case, there might be similar debates raging on plumbers' forums. The fact is that a landlord or a chariddee can fill vacant stage space with tolerably engaging acts without the troublesome need for payment. I do not see things changing until such time as the MU decides to target malfeasants or BassChat is prepared to fund a van to transport a bevy of flying pickets. [size=3]No, not [i]those[/i] Flying Pickets.[/size]

Much of this debate has been about BC justifying its position. Let's try the shoe on the other foot. Anyone who wants to buy and sell a Ric can easily do so using other forums. The trade in Rics proceeds unhindered. No one is remotely disadvantaged and it's not even much of an inconvenience. So why should BC should consider changing its position?

* Any initiative which saves representatives of this forum from having to down in the trenches with the exceptionally unpleasant and remorseless Mr John Hall can only be applauded. They did not go looking for him. He came looking for them. Whether he has the law on his side or that one might regret the absence of Rics from the BC marketplace is beside the point. * There are plenty of places where one can find Rics for sale. Many remarked at the time of the consultation that any ban would have little effect on the wider marketplace in Rics. * I doubt many forums would have thrown this kind of issue open to its membership as did BassChat. After [s]42[/s] 31 grinding pages of debate (an exercise sneeringly mocked by Mr Hall on the Rick Resource) the management elected to pursue a course of action which they felt was in the best interests of the forum. It is reasonable that the debate should be re-opened from time to time; on this occasion the management has stated their current position which is that they envisage no change to the policy. They just don't want to go there. Can't we just leave it at that?

@ OP: Whether you go for a P or a J, you may eventually want an amp to put it through; which is another question entirely. Headphone amps and POD's are fine in their way, but you really need to be able to feel these sounds as well as hear them.

Basic rule of thumb for bands. Dress the same as your audience only 10% more so (unless you're Mr Dick Venom).

[quote name='timmchale2009' timestamp='1397071045' post='2420422'] If I'm after a really clean sound I may be needing to look at something a little higher in wattage?! [/quote] Not necessarily. A 15w Princeton Reverb (SF/BF) gets quite grunty early on. The Princeton non-reverb is also 15w but stays pretty clean up to 8 or 9. Pair a silverface NR with an efficient after-market speaker like the Copperhead and you get both loud and clean. Then you stick a decent dirt-box in front of it and Bob's your oyster.

[quote name='Annoying Twit' timestamp='1397054599' post='2420190'] So, how do bands build a following if we posited a world where they shouldn't ever play for free? [/quote] One route is to be one's own promoter. Hire a room, advertise the gig, charge a small fee at the door to cover (some of the) costs. The reality is that most hobby bands who gig will prefer the financial safety net provided by a paying landlord. Also - and I honestly don't mean this to sound unkind - it makes them feel like a 'real' band. For some, playing for free makes them feel 'unprofessional'. The only stipulation I've ever made is that I won't pay to play (unless it's me doing the promoting, if you see what I mean). Other than that I'd tailor my fee to the circumstances and 'free' is always a possibility.

[quote name='peteb' timestamp='1396997971' post='2419709'] You speak for yourself sunshine![/quote] Thing is, Pete, you and a sizeable minority here are in 'proper' working pro or semi-pro bands. You've paid your dues and you can legitimately command a 'proper' fee. I suspect there are a greater number of hobbyists here (like myself) who are operating in an entirely different league. They probably play the venues you avoid. Some of these hobbyist bands expect to get paid the same money as you. Others do (inc myself) do not.

Sufficiently left field as to merit external input: * Similar Talkbass thread [url="http://www.talkbass.com/forum/f15/fender-excelsior-would-work-bass-885152/"]here[/url] * Short review on TDPRI (for guitar) [url="http://www.tdpri.com/forum/amp-central-station/329029-short-fender-excelsior-amp-review.html"]here[/url] The sense I get is that there's some clean headroom on these amps but that they are designed to sound best at full beans. On first release the stock eminence speaker enjoyed little favour among guitarists, some of whom swapped it out for different units. This shortcoming was rectified by Fender in their subsequent run of Excelsior Pro's and the new speaker has been well-received, afaik. £230 is a good price for an open-backed 15w Brownface clone if you're a guitarist. Less so, I venture, if you're looking for a punchy bass combo with a touch of hair. Anyway, you could always buy it and flip it here if you don't like it. An Excelsior for around £200 would probably move quite quickly in Other Musical Items.