SpondonBassed

Is prog still a cult thing? If so I'd suggest that accessibility for the mass listening public would demand familiar sounds to keep less interested parties as followers. Yes has to be one of the better known prog bands of all time. I thought I was into prog because I liked Mike Oldfield but I was only scratching the surface as it turns out. I.T. has made it possible for me to time travel back to the other artists' recordings and expand my appreciation somewhat. Oldfield's bass was quite hooky in my opinion. I don't know of many who adopted his sound.

Gonads! (That isn't something I'd encourage cheerleaders to shout at a football game by the way.)

...and a fan of Rick Dees. Welcome Alan.

When I got paid for writing, I got to the stage that I could remember abstract stuff only until I wrote it down. I'd have to re-read to recall otherwise. I suppose it was an instinctive thing to learn to cope with lots of technical knowledge that had to be presented to a variety of semi-skilled workers to a deadline. Sometimes it's a handicap to me now that I am semi-retired.

That always worked for me with vocals when I was a chorister. I'm not so bad with my current bass set but I've had that for a long time. With the choir I'd write the first vocal phrase of each number in the set and craftily pocket the crib-sheet. It doesn't work unless you are partially hidden in the rows behind. Front row choristers have to be bang-on or risk being outed as thickoes.

Try listening back to stuff you played in the eighties when you had the lend of a lefty but played it right-handed. That's my excuse for not remembering the lines I played then. They weren't that complicated either.

Given that you've mentioned a project with a CF neck a while back, I'd say go for it. I should think that the right resin should wear well. Remind me. Is the neck to be fretted? Regarding the resin used - a consideration might be; how stable is it over an extended period? Exposure to fingertip oils and other contaminants might soften or otherwise damage the surface over time.

Welcome to Basschat's Home for Incurable GAS Sufferers Nicolas. You'll fit right in.

I've been reading recently that John Lennon was frequently unable to remember his own lyrics. I don't feel so bad forgetting everyone else's basslines now.

I've got a fifteen in the Toneman. Ta anyways heeheehee.

If you really need the G5, you could replace the first string with an appropriate gauge and tune it to B3 instead of the conventional G3. Then relearn your lines. Why would you miss the top four semi-tones? What tunes use them?

I'd love to attend again. I'm not committing until nearer the time however. Jack will attend if possible and all things being well we will have his car to travel in. That said, it is usually filled with mobility support equipment so I don't plan on bringing any combos unless someone lets me know (via this topic or a PM) that they'd like a good old go on a Laney RB3 or an Ashdown Toneman 300 with an eighteen inch Trace Elliot Cab. If that's the case I may revisit your kind offer Andy, cheers. For JEBroad's planning purposes, consider me pencilled-in until further notice.

Love it.

It is and all!

Welcome Johnny.

It's beautiful how you've got that cut through the demarcation layers.

You're going to have a long slog to get a radius on SS like that. Better to find someone who can bend the radius into the steel and bond it to the neck.

Both of my combos have built in compression. On the Laney it's a function of the gain control with an LED to indicate when it is working and no other means of adjustment other than an on/off button and the gain knob itself. The Ashdown has an on/off button and a dedicated knob. They're okay but I want to understand what's going on a bit better by playing with Threshold, Ratio and Level controls as these three seem to represent the main functions of a compressor.

...if he can extract himself from the DoI topic, that is.

As a hobby bassist without gigs (I haven't played to an audience other than OM nights since '87) I am finding this interesting. I was following the thread a while back and during its revival, it is particularly relevant to what I am doing at this time. Because I don't get exposure to the variety of gear that experienced members do, it's a bit of a hit and miss affair, knowing what I want and more to the point what I need from effects in general so I bought a Zoom B3 to dip my toe in the water, so to speak. It emulates a variety of effects and amplifier/cab combinations. I assume that these emulations are sufficiently faithful to the original as to give me a rough idea of how the real things might sound. Among the effects is a range of compressors. I am currently trying these out. There are five compressors included as listed below. Could anyone suggest which of these emulations would be worth spending most time with to get the hang of what compression is doing for me? 001 OptComp - This compressor is in the style of an APHEX Punch Factory 002 D Comp - This compressor is in the style of the MXR Dyna Comp 003 M Comp - This compressor provides a more natural sound (No real life equivalent referenced) 004 DualComp - This is a compressor which allows separate settings for the low frequency and high frequency range 005 160 Comp - This compressor is in the style of the dbx 160A

Welcome Phillip.

Welcome Piotr.

Welcome Charlie.

That was Kenny for you. Bless him.

This gets arsey after about a minute: