TrevorR

Wunjos, Macaris, Red Dog and Digital Village all claim to according to a quick google search

Or you could get a Gorilla Pod Mini and improvise with a compact camera that shoots HD

Not spotted this before but Abe Sr as the YouTube placeholder frame... I'm so watching this later!!!

I suspect that no one makes them at all because for 99.9% of applications they would be entirely useless. Imagine trying to connect two, say, Boss pedals with a right angled male/male jack. The corners of the two pedals would be trying to occupy the same space. Just couldn't work. If you do have a couple of pedals/bits of equipment that happen to fit in this way just because of where the sockets are positioned then a right angled jack connected to a straight jack by three shortest piece of cable possible is the way to go. OBBM's your man for that...

[quote name='Bolo' timestamp='1487054496' post='3236530'] I bet it has a beefy tone! [/quote] I'd have thought it sounded a bit tinny...

[quote name='GremlinAndy' timestamp='1493939341' post='3292084'] I just did a bit of history checking... The 'Fighting' album was released in 1975 Electric mistress was first issued in 1976 Its possible that the effect was generated in the studio by the tape slowing method, but somehow I don't think so... It feels to regular, more like a pedal type effect. So I reckon it was an *earlier* effect. I know Lynott used Flanger on the '79 Black Rose album for "waiting for an alibi" But Downtown Sundown sounds less pronounced than a flanger or phaser IMHO. So I'm tending to think you may be right Higgie... Chorus methinks. [/quote] Downtown Sundown's off Bad Reputation though, isn't it? Recorded late 76, released 77 IIRC (or it could be 77/78).

Aria SB... mine (an SB700) was bought in 82 (although the serial no says it's strictly an 81). You own Wals, Rob, so the fact that they're built from ash-effect lead shouldn't be an issue!

[quote name='Brams77' timestamp='1494053291' post='3292831'] @ TrevorR that's not an easty to obtain instrument as they are very very rare! [/quote] True, but they're bl@&dy lovely and I wish they still made them and any excuse to post a photo of one.

Played Robin's Reverend Rumblefish at the SE Bass bash. Masonite construction like a Dano so super light but a proper bass, with a proper scale length. Sounded amazing too. For those who've not come across them they look like this... Love the retro styling.

I really liked River City People but one hit, two albums and au revoir!

[quote name='uk_lefty' timestamp='1493913866' post='3291817'] Often thought of this as a nice to have... I'm an 84 man so suppose that's Aria SB? And it would have to be lefty also... Not a lot of choice. [/quote] But what a great choice!

[quote name='stingrayPete1977' timestamp='1493909827' post='3291768'] Or the five string Stingray he used for some tracks on BSSM, if the Wal was so good why didn't it get on tour? Maybe they are crap live [/quote] He's quoted as saying it was too posh and boutique looking for a hard man of rock like him to be seen with on stage... #invertedsnob

[quote name='BassApprentice' timestamp='1493885486' post='3291472'] Just to buck the current trend of dates....1991, anybody think of a particularly special bass from that era? [/quote] [quote name='stingrayPete1977' timestamp='1493894094' post='3291556'] Got to be a Flea era Stingray, black and rosewood complete with the proper 'Flea' bridge? [/quote] Well given that BSSM came out in September 1991 a "Flea era Stingray" is actually spelled "Mark II 4-string Wal bass"...

A '64 Jazz bass would suite me just nicely. I suspect it would suit my wife and my bank manager rather less well!

[quote name='casapete' timestamp='1493856686' post='3291393'] Regarding strings, I've found the best ones for my Washburn AB20 are Elites bronze, which I think are 40-60-80-100 gauges. Seem to last a good while, and stay a bit zingy too if that's what you want. Fender bronzewounds are okay too, similar gauges I think but for me go off a bit sooner. Cheaper than the Elites though, so you pays yer money etc. [/quote] Yeah, I'd not want to go above 100s on an acoustic bass, just in case. Personal thing but you can't be too careful...

[quote name='Lozz196' timestamp='1493118074' post='3285710'] Thin Lizzy and The Black Star Riders are pretty similar, probably due to Scott Gorham being in both. [/quote] Well to be fair, BSR is effectively the band Scott has been touring as Lizzy for some years since he and John Sykes last parted ways. IIRC they went into the studio as "Lizzy" to record the first album as a new "Lizzy" album then decided half way through that it was a bit crass and disrespectful to Phil so decided release it under an separate band name and came up with Black Star Riders.

[quote name='dmccombe7' timestamp='1491808066' post='3275418'] Fantastic. I bought the DVD of the live show and its a fantastic VID with the storyline running on large screens and occasional actors / singers coming on stage dressed as characters from the movie. I actually thought the live show storyline was far better than the movies. It was set in a different time era... [/quote] Rather it was set in the correct time era and stayed closer to the original story than either film version. The events of WotW all took place near where I live. My parents in law live a few hundred yards from where the martians landed. The bit where the journalist gets knocked into the water and separated from the Artilleryman is a short cycle down the Thames and since He gets trapped in a house by the black smoke in Upper Halliford I always imagine that was in the scary looking house round the corner from the garden centre!

Trying to remember how to play the bass line. Does anyone know the way? There's got to be a way! I'll get me coat...

Fabulous album. Saw the show when it first toured (twice!). They had Chris Spedding, Herbie, Justin Hayward and Chris Thompson (Manfred Mann's Earth Band) from the original album in the band alongside Laurie Wisefield (Wishbone Ash) and Hugh Burns (everybody!) on guitar. Quite a band. One heck of a show!

[quote name='lowdown' timestamp='1491632549' post='3274391'] Randy Crawford and Joe Sample worked so well together. http://youtu.be/U05sFAvKoI8 [/quote] They did a cracking version of Respect Yourself on their No Regrets album. Sadly can't find a version online.

Which begs two more questions... 1. Why don't those particular forums appear when you're not logged in? Why those and not others? 2. Why shouldn't those count towards the post count? Presumably there was a particular logic behind those two decisions, Over to you Messers Mod.

[quote name='Elfrasho' timestamp='1491383778' post='3272536'] Every musician should spend an hour or two finding isolated bass tracks of famous tunes just to gwt rhe sound and feel of how they were played. When recording alot of people hear the dry bass track and thinks it sounds awful and won't Bruce that it will work. What i do find amazing is some vocal dry tracks that don't sound great, or have serious headphone bleed... but end up alright! Studio guys are magicians sometimes! [/quote] Since I started listening to isolated tracks I've also been amazed at some of the "sloppy technique" and "bad sound" on some classic bass lines. I must confess I've also wondered whether the clanks and scratches and string noises, even though they're seemingly inaudible in the mix actuallay help the feel of the track. You know, make it seem a bit more "live" and "in the moment". Add a bit of excitement to the track and stop it sounding sterile and "studio like"? It would only be a subtle psychological effect but who knows. On a tangent, another isolated track education is listening to Karen Carpenter's singing on those familiar Carpenters hits. The vocals can slip by you a bit within the smooth production of the track. However, listening to her on isolated tracks shows what an absolutely amazing singer she was. The mixture of tone, control, precision, fluidity and emotional communication in her singing is astonishing . And she always considered voice as her "second" instrument after drums!

Pretty modest compared to a lot of the boards posted here but I'm now pretty settled on this as my board after popping the Bass Soul Food on there this week.. It's mostly used at church now, DI and amp free. So the VTDI is acting as an always on amp and speaker sim while the Bass Soul Food is just for adding a bit of hair to the sound and to smooth out/fatten the sound of the wah. The term and chorus is just to add a bit of texture now and again. All quite simple stuff. Tuner > OD > Wah > Tremolo > Chorus > Sansamp

They look pretty but what others say about fabric is true. I must admit my first thought was the jacks look cheap compared to Neutriks. You get what you pay for, I guess. Another vote for OBBM.

[quote name='barneyg42' timestamp='1490976462' post='3269575'] Likewise Dancing in the Moonlight!! [/quote] [quote name='spectoremg' timestamp='1490980980' post='3269620'] I always used a flanger for that and got the sound spot on. They're kind of the same aren't they? [/quote] [quote name='JapanAxe' timestamp='1490983641' post='3269658'] Yes and no. They both feature multiple swept filter notches resulting from delaying the processed signal and mixing it with the original. However, in a flanger the delay time is the same for all frequencies, whereas in a phaser the delay time is frequency-dependent, so each frequency is delayed by a different amount. Hope that helps! [/quote] And there was me thinking that Alibi was a phaser but Dancing was a chorus. Listening back now it does sound more like a phaser. Much more pronounced effect on Alibi, though. http://youtu.be/VcrY6eSViXQ http://youtu.be/gJZDyqR4JuE