Stub Mandrel

One of these guys is uber-cool. One of them is not.

Can you guess which is which, children?

On 31/08/2018 at 18:13, Dood said:

Switch to Stereo and plug in a preamp like the Line 6 Helix and you can run full stereo sounds using a cabinet plugged in to each output and the Left and Right Helix outputs plugged in to Channels A and B respectively.

I have no experience of this in a gig situation, but it's worth noting that most decent chorus pedals have a stereo output that creates a really nice effect. Just make sure you send stereo to the PA as well (and that it's the right way round).

41 minutes ago, ambient said:

People are saying the responsibility lies at the feet of the owners because they own it.

Also the owners have't just had the TV turn up and offer to  sell their stuff - they are motivated by the hope of making a killing.

I'm not very good at slap, but try this exercise.

Finger the a-string at the 7th fret and g-string at the 9th to get the octave.

First practice flicking the a-string against the fretboard alternating with using your middle finger to pull up  the g-string and so pops back against the fretboard.

Once you can keep up a steady 1-2 rhythm try doing the following 8 to the bar pattern:
 

G--------9-------6-------7--------8

D----------------------------------  

A----7-------4--------5-------6----

E----------------------------------

Once you can play this steadily, try combining the two techniques into different syncopated slap/pop patterns on 7 and 9.

When you can do these reasonably cleanly, try playing a simple bassline, not a fast one, you know well that is all on the  E and A strings. slapping all the notes on the E and A strings and double them up by 'popping' them on the D and G strings.

Also, try simply playing basslines using your thumb to slap instead of a finger to pick the notes.

From here you are probably as good as me and on your own... this won't make you fast, but it shoudl help you build your technique without trying to do too much at once or confusing things by trying to learn new patterns for your fretting hand when its your playing hand that needs to learn.

What kind of music do you want to play? That should lead your choice.

These

Chorus - thickens up your sound and adds a 'shimmer' to the top end. Good for melodic lines, subtle, especially if you use a guitar flanger with bass (which can work well as it keeps the bottom end clear and spices up  the higher tones).

Flanger - deeper more in-your-face version of chorus, used slow can give a swooshing rather artificial sound. I tend to use it when I want an obvious effect.

Phaser - gentler version of phase and chorus as it affects a broader range of sounds. I find this very lovely but less popular these days.

[Use chorus+flanger at very different rates for really wild sounds as they intermodulate, good for 'psychedelic effects'.]

EQ pedal - can be useful if used with care. Essential if you have to use other people's amps with lots of confusing dials as you can set up a 'neutral tone' and use the pedal to get the sound you like. Use to get two different sounds if you have a 1-pickup bass or to get a different sound for special effect. I prefer to use it with subtle bass boost if I need some welly when using the bridge pickup.

Distortion - very personal. I have a HM2 for completely wrecked sounds, but most people want a much subtler effect. The higher harmonics ina distorted sound often make chorus/flange etc. more noticeable.

Delay - Thickens your sound but can get rid of definition I find what sounds good to me sounds awful when played back as it ovewhelms other instruments, best used in small doses.

Tremelo - very cheap effect that adds a wobble or even a stutter (depending on depth) without affecting the note pitch. Useful for some genres like surf music. Usually best used in a subtle way as too much and it can 'overlays' a rhythm on your playing (OK if you want this!).

Compressor -  vary from simple on/off effects on some amps to flight-deck complexity. I use mine with attack and sustain near middle values and adjust level so it matches me playing normally. My aim is to use fairly subtly to even out levels when playing varied lines. Slap players generally more compression to balance out the extreme differences between hard slaps and pops and gentler muted notes. Turn off when  you want to emphasise dynamics (i.e. play soft and then loud).

Tuner - really useful and most can also act as a mute pedal.

Next to add for me?  Octaver - I really like the sound.

Main  thing with effects is don't over-use them. Make sure you have a good sound without any effects (except perhaps EQ and compression) and rely on pickup switching/tone know for most changes of sound. Bring in effects only when needed, over-effected instruments can be tiring to listen to. That said, they can be great fun if you find an excuse for stomping on several at once!

As a moment of slight relief, take inspiration from the extra-Short Scale here:

The answer is simple.
 

The position of the harmonic won't ever be the same as the correct spot.

What matters is if you go to finger the octave, you get the octave. The most accurate position will vary with your fingering technique and the shape of your fingertips, action, string type etc.

Aim to finger as accurately as you can in your ideal 'twelfth fret' position adjust the intonation so this note is in tune with the harmonic.

11 hours ago, casapete said:

Another homespun one - vodka! For some strange reason we have a small bottle of cheap vodka acquired from god knows where. Mrs CP uses it to remove marks, as you sure as hell wouldn’t want to neck it. Seems to work on most things although never tried it on an instrument to be fair, but it’s just another spirit I guess so who knows?

Vodka is just dilute meths (with a dash of methyl alcohol added to make you go blind if you drink it).

4 hours ago, E sharp said:

Gramma pad

Is that bit like a granny flat?

The thing about slap is it doesn't need to be frantic, when MK revs up what his left hand is doing becomes irrelevant...

I think it actually sounds better if you can hear the notes as well as the percussion.

You lot are slow on the uptake.

John Hall is visiting at the same time as Donald Trump, because they know all the protesters will go after Hall, allowing the Trumpmeister a peaceful visit.

Interesting observations:

Nearly every band had a telecaster in it, the only 'strat' shaped ones were a Yamaha Pacifica brought in when someone snapped a string and our guitarists home-built bitsa strung for slide guitar.

Basses:

2 Fender Jazz, 1Peavey, one genuine 1960s Gibson SG and my Fender Performer.

Who said everyone plays a Precision?

I've just got back from my first gig since 1995, the 'Abbey Road Army' one.

We were the 'Grizzly Beers' and on second. The sound was spot on as you might expect from a venue with a proper stage and a list of past bands like this:

Were were hoping not to make fools of our selves but in the end we had a great reception and everyone was saying how good we were, especially how we fitted all the instruments together. We started with Going Back Home as easy to play and a crowd pleaser. The Saturday Night's Alright for Fighting which is a tad more challenging! Our secret weapon was Boulevard of Broken dreams where we got all those stops spot on, including the end - our effort to practice endings really paid off.

We did 40 minutes and finished with My My, Hey Hey. I started it with my HM2 pedal dialled and a plaintive howl of feedback, calmed down a bit for most of the song, and finished with HM2, tremelo, flanger, EQ and chorus on and the compressor off! The plan was to go out with a bang and it turned out we managed to make a picture fall off the wall at the far end of the building in the next room 🙂

We ended witha group hug!

A few moments of sheer terror, but in the end we all had a brilliant time and the other bands were great too! We are meeting up in a couple of weeks top discuss a plan for world domination!

9 hours ago, Norris said:

Two gigs this weekend after a 10 week break. My fingers are a little tender this morning. Last night we had a dep drummer that the guitarist and I hadn't played with for 8 years. He reckoned that was the last time he played drums too. Luckily he's a talented musician and did a fabulous job, when I remembered to give him cues

Anyway, we didn't get paid off, as I discovered when I walked back into the room to pack up...

Shows why short-scale basses are a bad idea 🙂

It's definitely the one with the steep steel steps and the list of bands!

It went well - we were the only band to end with a group hug!

... and it's my first gig since 1995!

If anyone is in Nottingham and looking for something to to do, we will be on around 4:30; First band likely to be nearer to 3:30 than 2:30!

Other than that the entry is £5 per person on the door where a large gentlemen will take the money and hand stamps will be in place. Please bring cash as we don't have a card machine!

Take it apart, bend it into alignment and file the burrs off.

If you are doing electrical engineering a set of torx bits and a screwdriver holder, pliers and a set of small files will be invaluable down the line anyway.

Use folded paper or card so using hefty pliers to grip the panel doesn't mark it.

Always avoided CNC as I love manual machining, but I recently acquired a KX-1 mill - just looking for the time to set it up and get it working.

10 hours ago, Mykesbass said:

Meths is a very mild paint remover - probably won't affect a poly finish, but do take care if anyone is is thinking of using it on their bass.

It will attack shellac/french polish type finishes and some water based ones.

OTOH white spirit can bleach out tiled finishes.

'Test on an inconspicuous part of the garment'

8 hours ago, dmccombe7 said:

homemade 2x18" cab

Respect!

I thought my 1x18 was impressive!

Started with crap nylon acoustic which I put steel strings one and more or less pulled itself apart.

Then a Kay KT-2 'SG' I still have, cheap as chips but curiously nice to play and hear. I sued to use with with an amp made out of an old valve record player, overdriven by diasy chaining a fuzz box that was a tube amp built into a case. I was well ahead of the tube preamp curve back in about 1980!

About 1984 a mate lent me his red sunburst Fender Precision; I also got to play with a Mustang for a day.

Not too long after I got myself a Hohner Jazz bass and a very useless 50W Sound City SC50B combo which I used for (I think) just one gig before chopping it up to be a monitor wedge and separate amp.

Upgraded to a Laney Pro-Bass amp and a single 18"(!) in a cab about the size of a washing machine (I had a Cortina estate by then) and added a Hohner B2 and Maya fretless to my collection.

51 minutes ago, musicbassman said:

'Spose Chas Chandler must have put him up to it - I understand he was very manipulative and actively encouraged most of Jimi's excesses, in all areas.

He's got a lot to answer for.

He made Slade cut off their hair...

Not sure if this has some slap in it or just aggressive picking - but it's brilliant? Listen from 1:55.

Has anyone else noticed taht when he is soloing Mark King starts to look like Gruber from Allo Allo?

I played my slap version of Living After Midnight at Friday's rehearsal.

The guys didn't prefer it and the guitarist was almost rude...

😪