skankdelvar

[quote name='risingson' timestamp='1370556602' post='2102833'] Can't tell whether you joke over this one Skank [/quote] I'm joking, but that doesn't stop your reply from being a good 'un and a very constructive rejoinder to an oft-expressed misapprehension in these parts. What I [i]really [/i]think is that modern pop music is mediocre because Britain lost the Empire and young people are all alcopop-guzzling narcissists with floppy hair.

Do you not mean 'unwittingly' or 'inadvertantly'? And in any case, no, they are not. The responsibility lies with the individual who decides that the Beatles 'influence' isn't enough and that they must cop a lick and a look. Likewise, many young people today sport a cravat simply because they saw a picture of me wearing one in 1968. Don't blame me if they can't tie it properly or they can't carry it off with panache. Besides which there were any number of bands / artists who were in thrall to the Beatles and who managed to produce distinctive and interesting music of their own. The Byrds and - after Rubber Soul - Mr Brian Wilson. And lots of others I can't be arsed to name, but we probably know who they are. In fact, to take it a step further, I'd argue that [i]most [/i]musicians of the period (and some since) ripped off the Beatles. It's just that some were better at at it than others. The mediocrity of modern music is simply down to the general public's lack of moral fibre.

Ad, really pleased for you, chum. Nice work.

All I know about richlite has been derived from web searches related to the stuff in relation to acoustic guitars, specifically the less expensive Martins. Most people seem happy with its playability. There's a vid somewhere (sorry, can't remember where, it was ages ago) in which a luthier compares fretting a richlite board with an ebony board. His view was entirely favourable, asserting that richlite was easier to work with. For myself, I've played a few Martins with richlite boards. The first time, I didn't even notice the difference and I've been around guitars a good long while (not meaning to be immodest). Sorry if this is OT to your specific question, but hopefully it's some kind of background

Revolver. End of. Well, not the [i]end[/i] of Revolver, all of it, obviously. Then Pepper. Then do what you like, it'll all be a disappointment, don't come crying to me. Whatever you do, don't shell out for Yellow Submarine. Ghastly.

Ah, but [i]some [/i]might contend it only happens once every sixteen years. On a Tuesday. Rest of the time, he's a total lambkin, sunny smiles aplenty and a puppy for the orphans at Christmas.

I'd usually mail out 4 songnames with keys and a rough note about any deviations from 'as known', links to youtube and tell 'em choose which two they'd like to play. Anyone keen will usually learn all 4. Hopefully, so will the [i]current[/i] band members. Get 'em in, give it an hour or so going round the songs, jam something if everyone gets bored. Next please. How hard does it have to be?

As one of the few on BC to have known both Mozart [i]and[/i] James Blunt on a personal basis, I would say that Mozart was better fun when going a-whoring. But I'd rather have young James alongside when scouting bandit territory. Picked off a Pathan tribesman at 550m, one shot, clean as a whistle.

[quote name='Prime_BASS' timestamp='1370118508' post='2096719'] I trust neck relief will be the same once this micro tilt thing is changed [/quote] Adjusting the microtilt will not affect the neck's relief as such (ie from nut to neck end). But the relief may need adjusting a touch after you adjust the microtilt as you will have changed the geometry between the neck, the string and the saddle. [quote name='Prime_BASS' timestamp='1370176076' post='2097208'] Ages ago I had a badass on a fender and it made getting the action low a bit troublesome, maybe cuase it's baseplate is so thick? [/quote] Which is why the general approach to badasses is to shim the neck if this problem is encountered. In the case of your friend's bass, adjusting the microtilt removes the need to file saddles etc. Like ET, I'm surprised that a 92 is sporting a microtilt. But, hey...

[quote name='Phantomnin' timestamp='1370092407' post='2096363'] Although in many smaller venues you can change where you are standing. [/quote] Very true. Not meaning to sound too holy, but I always try to make sure I'm not blocking anyone's view and I'm only 5'8". Then some tall bugger comes and stands in front of me anyway.

[quote name='Dingus' timestamp='1370090064' post='2096344'] ...there is a reason why most bass players turned to using roundwounds , and that is primarily the amount of cut and prescence they give you ... [/quote] And perhaps bass players hoped that greater 'presence' in the mix would mean more punters saying: 'Good Lord! I never realised bass players were so [i]important[/i]. I shall henceforth revise my opinion in respect of their miserable insignificance.'

[quote name='thisnameistaken' timestamp='1370080452' post='2096252'] I don't think you'd see much from all the way back there anyway. Go see smaller bands in smaller venues, it's also cheaper and less predictable. [/quote] And it's always comforting to know that nobody taller than oneself [i]ever[/i] goes to see 'unpredictable' bands. It's well known that very tall people embrace predictability, see. [color=#FFFFFF].[/color]

Welcome Two Basses There's only one thing better than a solo bass and that's two solo basses. Well, that's a bass duo, I suppose, but you get my drift. Very much hope you enjoy the forum. As time progresses, don't be deterred by some of the robust humour you may encounter in respect of bass solo-ing, five strings, or , indeed, anything else. It's all meant in a friendly spirit and BC is a place where none of us take things too seriously.

Mate, I'd sell that image to Laphroaig. Totally lifestyle. And congratulations on another triumph!

Never bothered Mr Entwistle. Scads of both and happy with it that way. [url="http://www.youtube.com/watch?v=bZd5jNbPtK8"]http://www.youtube.com/watch?v=bZd5jNbPtK8[/url]

No offence intended but this is the standard band interpersonal dynamics thing, only slightly worse than usual. You've paid for lots of stuff - if you're the only one subbing out, then they've slit you up like a kipper. If not, stop moaning. That's life. The others belittle you. Or is it that you feel they don't praise you enough? Don't hold your breath waiting around for unsolicited praise from anyone in this world. Equally, never let a slight go unchallenged. Sharing your unhappiness with us may feel soothing but it'll get you [i]nowhere [/i]in the real world. They critiqued you on your stage presence. You didn't like the critique. Ask yourself - [i]were they right?[/i] If they were, just suck it up and work on your act. If not, tell 'em why they're [i]wrong [/i]and tell 'em to poke it. Oh and don't be surprised if people make lists. That's what most people do best in bands - make lists. OK - your band has trouble filling venues but they're thinking of hiring a radio plugger, FFS? Delusional. First off, radio pluggers never did much even in the old days, apart from smuggle underage girls into Radio 1. These days, they're practically extinct. Do it online, do it yourselves and you'll do it right. What else? Well, if you want to be looked up to and you want to 'have a say' and you want to earn money rather than spending it then best switch to being the frontman, write the songs and hire your own band. Then you'll have a bass player of your own to kick in the bollocks if he or she will put up with it. It's a food-chain thing.

Headstock looks wrong to me. Fat and squashy. Low E veering wildly off from the nut to the left. String retainer looks like it might one of the cheap pressed steel jobs you used to get on Encores. Poor chap probably thinks it's a Fender and that he's going to be quids in.

[quote name='AndrewRichards' timestamp='1369929130' post='2094602'] What do people do when they feel too burned out to practice? [/quote] Anything other than force myself to continue practising. Tried that. Didn't work. In fact, enforced breaks (of weeks, in the last instance) have been of more benefit to me than extended practice. You come back to it to find your fingers working at double speed and all sorts of previously unplayable passages flowing forth like bananas out the ying-yang. Must be the old subconscious processing and refining.

[quote name='bassfunk' timestamp='1369858237' post='2093698'] There was a thread ages ago about this too, I seem to remember a Basschatter building one for personal use in his garage? [/quote] Happy Jack's garage > rhsal room thread here: [url="http://basschat.co.uk/topic/135383-kitting-out-my-garage-as-a-rehearsal-space/"]http://basschat.co.uk/topic/135383-kitting-out-my-garage-as-a-rehearsal-space/[/url] Also the book [url="http://www.amazon.co.uk/Basic-Home-Studio-Design-White/dp/1860742726/ref=sr_1_1_bnp_1_pap?s=books&ie=UTF8&qid=1369911573&sr=1-1&keywords=paul+white+basic+home+studio"]Basic Home Studio Design[/url] by Paul White. A mere £4.49 (Amazon) buys you scads of info.

Me too. Far too much 'good but not [i]great[/i]' gear in long-term, inaccessible removers storage atm. Utterly useless where it is and I'm not missing it. Probably dribble stuff onto the market over the next year or so. Amongst scads of guitars and pedals there's: 1966 Bassman head, 1973 non-MV Marshall MK II, 1973 SF Princeton NR, 1980's Ampeg B15-T (tranny). All covered in dust and mute as the grave. Total waste. Depressed now.

Bigsbys are grand. Retro-fitted one to a cheap Chinese semi. Completely changed the 'tone' - probably something to do with break angles off the bridge. Viz: re-stringing. An entire ballsache, though it's a lot easier if one: * Crimp the string's end wrap through 90 degrees so the ball-end sits on the pin easier. * Maintaining tension on the string to keep the ball-end on the pin - using one hand thread the string under the second bar (if fitted), over the bridge, up the neck, hold it tight then - Whammo! - slap a capo on with your other hand. Holds the string tight down to the neck and stops it falling off the Bigsby. * Now you've got two hands free for the normal 'stick the string in the tuner and wind it up' bit. Once the string's tight enough not to fall off the bigsby, take the capo off. * Repeat until guitar is fully strung, then tune to pitch Doing it this way is a bit fiddly but it only takes a few minutes longer than re-stringing a 'normal' guitar. Not recommended for mid-gig emergencies. The other thing is you sometimes get unwanted ringy overtones from the bit of the string between the bridge and the Bigsby. I usually tear off a bit of kitchen roll, fold it and thread it between the strings at that point. Mutes them off lovely.

Long Black Friday. OTOH, potential for Robinson Crusoe gags. Maybe not.

Gagging for a fake? Cheap dodgy Rick [url="http://www.youtube.com/watch?v=dQw4w9WgXcQ"]here[/url] [color=#FFFFFF].[/color]

As propounded above, one should always have someone at both ends of the load-out - someone by the van, someone with the gear inside the venue. The problems start when you're in a three-piece. Either one person carries everything out [i]or[/i] there's a complicated little waltz where A goes out to B from C then B goes [i]back[/i] to C who goes out to A and then your head explodes and you forget your extension board.

Commiserations, Les.