Count Bassy

Just make sure that it's coiled the right way - i should go the same way as a screw thread. - Obviously if you're playing in the southern hemisphere you'll need to use one which is coiled the other way.

Once you have access to a CNC you can knock out some dummy necks in something cheap (Pine, MDF?) and see how they feel in your hand. Modify & try again, and so on, though starting with something based on one you already like is obviously a good idea..

[quote name='Grangur' timestamp='1401738836' post='2466439'] FWIW I had an Ibanez GW35 and was never too happy with it. [/quote] On the other hand I have GWB35 (it was my first fretless and first 5 sting) and love it to the extent that I went out and bought an SR505 purely on spec, on the basis that it was the nearest fretted equivalent. However my experience of other fretless basses is pretty limited, and I've not played an ESP, so temper my opinion with that. The GWB35 was £300 second hand.

[quote name='JTUK' timestamp='1401917466' post='2468390'] Village halls aren't normally the best halls for music... by a long shot. Too many hard surfaces typically... [/quote] I'd generally agree for practices, but for a gig with a (hopefully) capacity audience they can be fine (and cheap).

Whoops

I always find that mine go flat in the warm, and sharp if it's cold, but generally stays in tune with itself unless I knock a tuner somehow. I've always put it down to the strings being metal and thus expanding/contracting.

[quote name='Greggo' timestamp='1400756592' post='2456645'] I find the tone at the point of putting them on is exactly how I like a round to sound, but can imagine that once they bed in they may take on more of a flat wound character. [/quote] I've found that the sound of these strings doesn't change too much with time (or perhaps I just haven't noticed)

I use to use (and still have the MP-BT1) but then bought a GTR1 and haven't used the MB-BT1 since. There are a few things that the MP-BT1 does better, but the overwhelming advantage (IMO) is with the GTR-1 (it does cost more though)!

[quote name='Dr.Dave' timestamp='1401709123' post='2465986'] Yes , I did read that wording , possibly more carefully than you read my opinions. I should think anyone's thoughts on the second para would have to include whether the traditions of a particular environment are more important than the urgent need for new housing , and the rights of those occupying that housing. That urgent need , of course , stems from differing reasons , the cold facts of which - were I to air them here - would doubtless result in my being chucked out of this forum too. [/quote] With reference to the housing situation I could quip that "If they need the housing that badly then they can put up with a bit of noise", but I won't. However, I'm pretty sure that you know that in most of these cases it's a lot more to do with the developer making money than a burning desire to help ease the housing crisis. As with all these things it's a question of balance. I have no idea of your circumstances, but I suspect that if someone were to try and take your livelihood/business away because they wanted to build some houses, then you would be pretty peed off. Similarly if they decided to close down the venue for your favourite past-time.

[quote name='Dr.Dave' timestamp='1401697639' post='2465830'] Sorry but I can't sign that. For many years folk who live in built up areas have had to put up with noise pollution from music venues til god know what time. Why should they ? Any recent legislation is designed to finally give folk some respite. If anyone thinks that's all a bit 'spoilsport' then tough. There are many things venues can do to stop the problem but from what I experience , a sign in a pub that says 'keep the door shut when the band's on' and a 'no noise after midnight' policy is just not cutting the mustard and is all too often 'relaxed'. I'm always hearing how it's just one single grumpy old geezer etc etc. but I reckon it's many , many more. There are enough pub and other venues big and small well away from concentrations of domestic dwellings for us to blast the walls down in without causing other peace loving folk a problem and enough acoustic bands - and many other quieter forms of music - to play in places that 'want to promote music' ( ie. make a buck on musos backs) that are in places likely to disturb the Englishman in his castle. Of course there will be borderline cases - maybe genuine , long established venues recently affected would be a good example of that - but they are the victims of other venues who don't give jack sh*t about communities or music who have long taken the piss in the name of profit. When legislation has to be put in place there will always be losers , sadly. [/quote] Copy of the petition wording: [color=#231F20][font=arial][size=1][size=4]"We call upon the Secretary of State to conduct an urgent review of all applicable Noise Legislation so that the collective right of local communities to be able to enjoy well-run and managed music venues is properly balanced within the law against the individual rights of owners and occupiers of adjoining properties to limit environmental noise.[/size][/size][/font][/color] [color=#231F20][font=arial][size=1][size=4]We request that this review specifically addresses the possibility of new owner/occupiers or developers misusing existing legislation to demand a lowering of environmental noise in a zone in which it has traditionally existed, resulting in the potential closure of highly valued community spaces including music venues, church halls and arts centres."[/size][/size][/font][/color] [color=#231F20][font=arial][size=1][size=4]The first paragraph is pretty specific about a balanced approach between venues and residents.[/size][/size][/font][/color] [color=#231F20][font=arial][size=1][size=4]The second paragraph is fairly specific about about people/developers moving into an area with existing music venues and then complaining.[/size][/size][/font][/color] [color=#231F20][font=arial][size=1][size=4]I can't see anything in it that contradicts your comments.[/size][/size][/font][/color]

[quote name='icastle' timestamp='1401551776' post='2464684'] I'll give you two guesses who the equipment owner takes it out on... [/quote] The drummer?

[quote name='Cameronj279' timestamp='1401539480' post='2464539'] Always felt this was a problem but just too small a problem to be worth changing tuners. [/quote] Same here really. I was thinking more of manufacturers fitting them as original equipment. You'd think that the addition cost would be negligible.

Has anyone else thought it would be nice to have different tuner ratios on different strings? On my five strings in particular I find that tuning the upper strings (A,D,G) is fairly easy, a good twist of the tuner has a noticeable but controllable affect on the the pitch. The E string is not too bad, but by the time you get to the B string a small movement of the tuner has a makes a big difference in the pitch, which tend to lead to overshooting when tuning. Obviously it is manageable, but a higher ratio tuner, say on the E and B strings would make life easier. Any thoughts!

[quote name='Number6' timestamp='1401531189' post='2464449'] Working on the basis that i have a Maplin cheapy mic made in the PRC that i've used for sometime and that appears to be very comparable to the Shure SM58 in sound then it seems that most copies nowadays are becoming difficult to detect...... [/quote] Copies aren't difficult to detect - they don't have Shure written on them! Counterfeits do.

[quote name='danthevan' timestamp='1401471893' post='2464022'] i'm doing a website for my local sports club, and done a bit of googling to find info on it, and come across their licence on the council website. They have a band there couple of times a month, and on the licence it states a 60dbA limit on any 'functions'. i think i have done farts louder than that [/quote] Measured where though?

[quote name='Happy Jack' timestamp='1401473046' post='2464031'] Finally got a chance to watch that clip - dreadful, tabloid TV masquerading as something serious. My heart really goes out to all those bands playing 100,000-seater stadia who bought a cheap copy on eBay. As you do. Flyfisher is bang-on with his comments about the "scientific testing" (pah!), and of course the article carefully steered clear of the real issue ... money. Why do people buy cheap copies on eBay? Erm ... because they're cheaper than the real thing. So why not tell us the price of a real SM58 and the typical price of a fake one? Whichever way you look at it, that's a key part of the "rip-off" equation, perhaps THE key part. Shure have been making a fortune out of the SM58 for years, which is absolutely fine with me - it's a great product, even if I prefer my (totally genuine) Beta 57A (which I bought new from an authorised dealer and paid full price for). But if you're clever enough or lucky enough to have a product become the industry standard, there's no point being surprised if the market floods with copies, especially when the price of your genuine product remains stubbornly high. Shure's actual response seems not to have been to make silly TV programs but to sharply reduce their prices, e.g. [url="http://www.gear4music.com/PA-DJ-and-Lighting/Shure-SM58-with-Boom-Mic-Stand-and-6m-Cable/C39"]http://www.gear4musi...nd-6m-Cable/C39[/url] Hats off to them. That's the right way to deal with fakes - make them uneconomical. [/quote] There is a difference between a copy and a counterfeit. The thing is that counterfeits aren't actually that cheap. They are pretending to be the real thing and tend to sell for a good price for the real thing. Eg an SM58 might be £90, and a counterfeit £65 I.e. "a bargain" if you think yo're buying the real thing, but you're not! Copies are up front that they are not an actual Shure (or whatever), and might sell for around £30 - 40. You pay your money for brand 'X', and get brand X. No deception, no problem.

Thanks for your thoughts guys, just need to check with band if its actually going to happen before I put too much work into it.

[quote name='discreet' timestamp='1401042044' post='2459458'] I don't get this... do you really think Jeff Beck is some kind of failure because he's not producing music that you like, or music that you think he [i]should[/i] be playing? He has spent his life playing what he wants to play and has made a great career out of it! I'm pretty sure he's quite happy doing what he does and his achievements are really quite remarkable when you look at it in any accepted way of gauging success in the music business! I bet he doesn't waste hours every day sat on his arse putting the world to rights on the bloody internet, either! [/quote] I actually totally agree with you. I didn't mean to suggest that he was in anyway a failure, and he can do what he likes and he has done, and continues to do remarkable things. However, you won't be finding much of his recent work my collection!

[quote name='Mornats' timestamp='1401187921' post='2460871'] According to this news article he's behind The Fleece (as is the Bristol East MP): [url="http://www.bristol247.com/2014/05/27/bristol-mp-and-mayor-back-campaign-to-save-the-fleece-46325/"]http://www.bristol24...e-fleece-46325/[/url] [/quote] In which case good for the mayor and the MP!!

[quote name='Mornats' timestamp='1401056339' post='2459697'] I'd like to think that (at current count) there are 33,735 chances of something happening. The mayor of Bristol owns at least two music venues (The Grain Barge and The Tobacco Factory) so I do hope he's listening. [/quote] On the other hand (and I don't know the bloke) he could see it as an ideal opportunity to take down the competition!

OK, so at last night's band practice we started playing around with Walk on the Wild Side. I don't play Double Bass, and even if I did I could not play the double and electric at the same time! Having listened to the original quite a bit today it seems that the electric bass is prominent in the chorus, and of course I can do the slide with the 10th in there as well. The Double Bass then seems to become more prominent in the verse (the electric seems to drop out completely in the early verses), and I could probably play this part with some practice (not even tried it seriously yet). So, accepting that, with the best will in the world, it won't sound quite like the original, I was thinking of basically doing that - i.e. the slidey bit in the chorus, the double bass line in the verse. What have others done for the bass line(s) in this song? PS:- while looking into on line (Trying to find the versio with the extended sax solo at the end), came across the LOu Reed + Susan Vega version, which I really quite like in concept, if not some of the detail.

Personally I would modify your cabs to have two speakons each, and then daisy chain them (in parallel). No extra bits to carry around !!

Signed. MK11 in Milton Keynes is also under threat due to someone complaining. And it's on an industrial estate.

[quote name='Bilbo' timestamp='1400785465' post='2457063'] Whilst in no real sense a fan, I have always admired Beck's expressiveness as a guitarist but, lately, everytime I see him on a video etc, he is playing some lame mainstream crap like Jerusalem or You'll Never Walk Alone. The arrangements aren't even interesting. It all sounds like James Galway play The Beatles to me, Dreadful. What is he playing at? [/quote] Spot on Bilbo, just seems such a waste of a great talent.

[quote name='Lozz196' timestamp='1400883406' post='2457979'] just want valvey warmth without changing your tone [/quote] This does not compute!!