skankdelvar

BC-er selling an s/h Pocket Pod Express for a mere £25.00 [url="http://basschat.co.uk/topic/226219-fs-line-6-pocket-pod-express-9v-psu-with-5-point-daisy-chain-jazz-bass-pick-guard/page__p__2341096__hl__pod__fromsearch__1#entry2341096"]here[/url] Its larger brother the Pocket Pod is about £85 new and works fine for me. Had it four years or so, no problems, very versatile and has online access to loads of patches.

An entertaining rant by Mr Inglis but entirely suspect. Seven of his ten suggestions involve either reducing his overhead; placing limitations on his competitors; and forcing both his suppliers and 'the guvvinment' to hand him (and his business sector) scads of cash with no strings attached. That his enterprise has recently closed may explain his focus on finances and it is in some way understandable As is the case with so many people these days, Mr Inglis sees himself as the victim, that it is all someone else's fault and that his problems would be solved by a free hand-out.

[quote name='ZMech' timestamp='1390641511' post='2347763'] Finger picking looks like it'll take a bit of getting used to, but I shall let you know how it goes! [/quote] It's possible to muddle by with thumb and forefinger or thumb and two fingers for a while, but in the end 'they' say it's best to try to use as many RH fingers as you've got. It's swings and roundabouts, mind. For one thing you can skip learning all those basic standard tuning chords and changes (e.g. C to G) that tie your left hand up like spaghetti. Embellished one chord vamps ftw! Let that Zmech boogie-woogie. It's in him - and it's [i]got[/i] to come out.

[quote name='Thumbducker' timestamp='1390562252' post='2346808'] I hope this isn't considered dredging and I'd imagine the OP has moved on (everything moves so fast nowadays to me) but having owned both, I felt like sharing my experience. [/quote] Useful post, good points well made.

Scrillions of general guitar vids on YouTube. As always, quality varies. Also plenty of conventional blues jam tracks in different keys and at different tempos. Thing is, the music you're talking about is quite differently executed to modern music, even within the blues genre. These days most people play blues in standard tuning with a pick, derived from the Chicago stuff that was popularised here by Clapton and others. But any number of the older guys, including John Lee Hooker, would play without a pick in so-called 'open' tunings. This is where the guitar is tuned to a chord typically (but not limited to) E, D, or G. As far as the right hand is concerned, the old boys usually avoided conventional flat picks, using either just their fingers or a thumb-pick plus fingers. Sorry if all this is 'egg-sucking' stuff to you, but Delta blues is an offshoot that's a bit ignored these days. A good starting point would be Stefan Grossman's tutorial vids. Fred Sokolow's good, too. As for the practicalities, fit some heavier gauge strings (11's for electric, 13's for acoustic, adjust to taste, ymmv). If you want to play slide, jack the action up a touch and let a little relief into the neck. The money you save by not buying guitar picks can go towards a slide (£5-15) off ebay. My preference is for a heavy brass slide, snug fit for the pinky finger, but it's probably easier to start with a lighter steel or glass slide to avoid carpal tunnel ache. Metal slides give it that 'buzz', whereas glass is a little more polite. Easy open D tuning: Low E goes down to D A = same D= same G goes down to F# B goes down to A High E goes down to D Here's a blues played in open D http://www.youtube.com/watch?v=-QgJQLSXzsI And here's an open d slide lesson http://www.youtube.com/watch?v=1ayBP6vLqYI Some how to's: http://www.guitarworld.com/deep-john-lee-hooker-and-lightnin-hopkins http://www2.gibson.com/News-Lifestyle/Features/en-us/how-john-lee-hooker-developed.aspx http://www.youtube.com/watch?v=jcYBY016cls Son House: http://www.youtube.com/watch?v=oh3KJttVYxY

Hi Mitch and welcome Ineptitude with cyber-technology is a skill shared by many of us. 'On' switch, loud knob, tone button. What else does one need? Enjoy the forum

[quote name='Monckyman' timestamp='1390561272' post='2346785'] Borked.....(face palm) [/quote] Everybody doesn't like something, but nobody doesn't like Sara Lee.

[quote name='Johnm93' timestamp='1390514474' post='2346400'] Can I roll this particular ball into motion, then? What are:- DI? and EQ? Ta. [/quote] DI: Acronym for Direct Injection or Direct Input - The practice or means of sending an instrument's output signal 'directly' to a PA mixing desk, recording input, etc., rather than sending the signal to one's amp and mic-ing the amp's output. [url="http://en.wikipedia.org/wiki/DI_unit"]http://en.wikipedia.org/wiki/DI_unit[/url] Conversational example: 'The f***ing soundman shot 48v back up the DI line and borked my rig' EQ: Abbreviation for Equalisation - the practice or means of adjusting the frequency components of an audio signal. Examples of equalisation equipment: a graphic equaliser; 'bass' and 'treble' controls on a hi-fi; the 'tone' control on a radio. [url="http://en.wikipedia.org/wiki/Equalization_(audio"]http://en.wikipedia....lization_(audio[/url]) Conversational example: 'The bass guitar sounds too high and zingy in the mix. Can we EQ it back a bit?' [color=#ffffff].[/color]

We loves a happy ending. Looks like a very jolly little bass - been thinking along similar lines myself recently... Enjoy your hybrid!

Couple things: * If you haven't already perused it, thread [url="http://basschat.co.uk/topic/193-badass-bridges/"]here[/url] about Badasses, the different types and the need to get the right one. * I stuck a Gotoh on my Jazz bitsa and it worked fine. Cheap, well-made and they come up S/H in the BC marketplace every so often

[quote name='Dave Vader' timestamp='1390306892' post='2343745'] I have accidentally got serious GAS for a Vintage Mick Abrahams Signature model SG. But I hate signature models, and relic finishes. I shall have to strip it, take off the signature bit and be happy with a P-90 SG [/quote] Which leads to an interesting question. Which is more authentic? A re-finished original or a re-finished relic? And is re-finishing a relic less authentic than leaving it as it is? I shall not be able to sleep tonight.

[quote name='Twincam' timestamp='1390242058' post='2343079'] Unless you get a load of fret buzz right?? haha [/quote] That's a good point, actually. Action, relief and string gauge all have a part to play. If you get a tutor, ask him to check your bass over and suggest any adjustments that might help. I mean, here we are worrying about finger-spreads while your action might be high enough to limbo dance under.

Saw this in a similar, current thread and thought it was so good it should be quoted it here: [quote name='Dr.Dave' timestamp='1390156809' post='2342093'] Remember at all times that every time you play the right note in the right place you're as good as anyone else on the planet. [/quote] And if it's not in the famous quotes thread it soon will be.

Couple points: * The 'Feeling Crap' thing: The internet is useful but can be misleading. If - as you say - you've not been playing long, then watching some of these vids is like watching Usain Bolt hurtle up the track and beating yourself up because you know you're not as fast as him. Fact is, some of these people have been playing for hours a day over any number of years and you're not going to be able to do what they do - [i]yet[/i]. * Going for big stretches early on is inadvisable without warm-ups and a structured approach. Get yourself a bass tutor (not a guitarist who does a bit of bass on the side) and get him to devise you a practice routine. * The quickest way to avoid feeling crap is to do what you can currently do but do it well. Technical intricacy is lovely, but if you can't place each note with conviction then there's no foundation. When I say 'conviction' I mean those moments when your passages are correct, you [i]know[/i] that you know what you're doing, there's a smile on your face and you're listening more to the band than you are to yourself. It will come. * As you progress, you'll find yourself playing certain passages using a different approach to other people. If you play with the afore-mentioned conviction, this is part of the development of your own 'style'. This is a good thing. Enjoy your Mustang when it arrives

Nice band, flavoursome bass and a [i]very[/i] good singer. Well recorded, all good stuff and remarkable that you managed to get all that down in one day. Suggestion: Like it or not, the busy people generally listen to the first thirty seconds and fast forward. And they probably won't listen to all of the songs unless the first two or three really knock them out. So if some of your target punters are only going to listen to the first thirty secs of the first 2 or 3 songs it's imperative you get your absolutely best stuff up first. That's not to say any of it is [i]bad[/i] because it's all good. But some songs are always going to be stronger than others. Perhaps you could re-order your soundcloud clips again (sorry ) to get the (*IMO*) strongest songs first. Nutbush > Don't Stop > Take me to the River > Jealous > Black Gold > Long Train This gives you a mix of tempos while back-ending the tracks where your drummer exhibits a touch of reticence. If - on reflection - there are tracks that some of the band really aren't happy with, there's no law that says everything you recorded has to go up there. 5 songs is no worse than 6 songs if the target market doesn't know there were 6 songs to start with Finally, if you have hold of the masters in an editable format, you could copy the tracks and edit (then cross-fade) each song's hook / chorus into a one minute compilation to give you a 'best of the best bits'. Bit like the album ads on the telly. We did this in one band I was in and any number of landlords responded favourably. In any event, they're demos you should be proud of. Good luck with those gigs!

[quote name='wishface' timestamp='1390212718' post='2342553'] How do you know what's a good bass when buying from a shop? [/quote] One looks for the same things as when buying privately. Playability, sound when plugged in - the sort of stuff detailed in Norris's post above. If you're uncertain about these things, take an experienced friend with you. In fact, even when one is experienced, it helps to bring along a second pair of ears and eyes [quote name='wishface' timestamp='1390212718' post='2342553'] Specifically when spending a relatively low sum (~£200) [/quote] To my mind £200 is some way above 'budget' though about £50 short of the 'excellent cheapies'. To me, 'budget' are those axes one sees on ebay for £79.99. Some of these sub-£100 low-enders may be deficient in the manufacturing department - dodgy soldering, wonky bridge placement, cheap hardware. But as long as the neck lines up with the body they may provide an adequate platform for modifications and enhancement. Really, it all comes down to one's confidence in one's ability to identify and / or rectify an instrument's shortcomings. If one is on a limited budget and just starting out it is probably best to grit one's teeth, find a sympathetic retailer and go the traditional route.

Floating this idea has certain merits, not the least of which is that it seeks to address the question 'What are music shops going to do when try-before-you-buy-onliners are so prevalent?' The retail industry in general is giving some thought to the future - what will shops be [i]for[/i] if not for selling? Well, they might not be for 'selling' anything at all. One idea that has been floated is that manufacturers or distributors pay a fee to rent display space in shops while supplying product for trial purposes only. The retailer is spared the expense and risk of holding stock. His costs are covered by the display fee. After that, everything's bunce. Those who actually purchase from the shop walk out with a sales receipt and a pro-forma delivery schedule. Some time later, the van rolls up at your house and Bob's your Uncle. Well, that's what some of them are thinking, anyway. [color=#ffffff].[/color]

And another article [url="http://www.caraguitars.com/fullerplast.htm"]here[/url] which agrees that Fender used Fullerplast acrylic sealer from 1963 - but used similar products from other manufacturers [i]from 1956 onwards[/i]! So much for golden age 'mojo'. It is believed that through pressure of time some Fenders may have skipped the sealant-dipping process and gone straight to the spray booth. Hence the existence of certain instruments where the nitro has worn straight down to bare wood. This - in turn - introduces further confusion and debate. It's all voodoo, really, when one considers that the determining factor in Mr Fender's mind was production efficiency and product durability. 'Chop 'em out and get them on the truck. Tone? What's that?'

[quote name='Coilte' timestamp='1390127020' post='2341617'] You'd wonder how these "surveys" are compiled, and even if true (which I doubt), that someone would admit to attracting zero women. [/quote] Wonder no more. It is not a survey. It is a T-shirt design. Saw some for sale on the bay recently and dallied with the idea of posting a link here. But exposure to [b]The Horrid Truth[/b] would deter all those bright-eyed newbs down in 'Introductions' so I cancelled my intent

They do a sterling version of Nutbush too.

You went down there, had a meet, thought about it and decided not to proceed. That's what first meets are for. As for the journey - I know the area well. The sheer unpredictability of the M4 around Slough and Reading coupled with a dearth of easy rat-runs would make me think hard, even if I was starting from Slough let alone West London. But you won't have known till you tried it. Again, that's fair enough. Just drop them a mail saying ta for the audition, thanks but no thanks, good luck with the band, big pink kissies. No harm, no foul.

[quote name='achknalligewelt' timestamp='1389878759' post='2338996'] I tell all my bass students, the most important thing you need is to want to practice, and to not be put off by not being very good for what feels like a long, long time. Bass is good for this, as learning to bash out a line of root notes in 8's along to a Clash track is a pretty attainable target for a beginner, and very quickly you'll feel like you can actually play the thing. Then come scales, then the Beatles, then ultimately, the world's your oyster. If you practice. And practice. And practice. [/quote] Frankly, this is a most sensible post. For myself, I would question the notion of 'musical aptitude'. I mean, we don't talk about 'eating aptitude' or 'walking aptitude'. Performing a musical piece is simply a combination of training one's motor skills to perform certain actions and learning which actions to deploy at any given point in a song. So - dear OP - don't feel that any sense of a 'lack of aptitude' might stand in your way. Just do it. As for the practising thing. Don't race up that mountain and don't take it [i]too[/i] seriously at this point. This is all meant to be fun. Yes, practising is good, but don't overdo it in the early days. When your hands start hurting and your head's aching with incomprehensible stuff about modes - step away from that bass and take a break. Tiny steps, easy victories. Once you've established some basic competence you can think about where you go next

I don't remember Train Wreck being on the list that was circulated. Anyway, my pref was [b][font=verdana,geneva,sans-serif][color=#ff0000]Mailed Fist [/color][/font][/b] It went with my new 'metal' trousers.

[quote name='karlfer' timestamp='1389791106' post='2337898'] The catfish don't appear to be suffering Skank. [/quote] Thank God for that. I don't think I could have handled another bad news story.

[quote name='xilddx' timestamp='1389749737' post='2337603'] f***ing ugly ... SO MUCH MORE. I used to try to be ... a load of auld ballocks ... twiddly bellend sh*t ... need for adoration... the singer ... needs to flip [/quote] Nige, you're such a milquetoast these days. Where did all the fiery passion go?