Count Bassy

[quote name='xilddx' timestamp='1383814034' post='2269336'] Like I said, I have no issue with cover bands. I certainly could not be in one, I couldn't learn 150 songs of other bands, partly ability, partly motivation. There are specific skills and motivations required for either type of band. But I am disappointed in the attitude from some quarters towards original bands. Those who have not been in an original band may not appreciate how much work is involved, and how hard it is to build an audience and keep reinventing the band to keep it fresh. [/quote] Just to make it clear that I have absolutely no problem with originals bands, after all without original bands there would be no covers. What I can have a problem with is the attitude of original band members who regard cover bands as being musically worthless.However I don't know any cover band members who regard original bands with the same disdain. To my mind there are two questions: - is it a good band? - is it a good song? To quote John Kirkpatrick (Button accordion and concertina Maestro): " A good tune is a good tune, no matter where it comes from".

[quote name='xilddx' timestamp='1383221538' post='2261676'] It's not the same as classical orchestras and jazz bands playing others' compositions because they are keeping the music alive and bringing it to new audiences, it's more often out of love and duty I think. Cover bands are often doing it for kicks and money from what I can tell, more taking than giving, an easy way to play at being the rock star without the creativity, effort and uncertainty of going out there with original music. [/quote] And I thought talking bollocks was my speciality! [size=4] [/size]

[size=4][quote name='neepheid' timestamp='1383229482' post='2261849'][/size] And people in covers bands get fed up of people in originals bands looking down their noses at them for being unoriginal, selling out, making more money for perceived less effort/artistic value or whatever the damn beef is. At the risk of sounding like a total sap - we're all performing music here, can't we all just get along? [/quote] This! Hendrix's 'Hey Joe' & 'All Along the Watchtower', Pino Palladinos bass on "Wherever I lay My Hat", Johnny Cash's version of 'Hurt', Cream's 'Crossroads' etc etc etc obviously all crap. PS: I see that BertBass beat me to it with examples of crap covers songs.

[quote name='Phil Starr' timestamp='1383641576' post='2266796'] OK, we too have to take the plunge into lighting. We want to keep it simple, just to liven up our visuals without adding to the set up time or the already cluttered stage area so the four Led cans on a controller/ParBar type lights will suit us just fine. One question is what level of light to go for. They don't all quote light output so it is hard to compare but the choice seems to be between the 3x3W tri-leds (PowerBar and equivalent) and the ones with 10mm leds (ParBar). I saw a band recently using the ParBars and they seemed bright enough. Would the more powerful lights give greater intensity of colour? Would they prove too bright in a usually restricted stage area. I know I could get a proper controller to dim them but to be honest I want to plug, forget and play. If i can get away with a ParBar then that's great, more to spend on bass gear. What are your experiences? [/quote] I have two of the Kam Mk1 Par bars and they have worked great in slightly darkened room or stage area, but don't do much if the pub has all its house lights on. The newer ones are more powerful so can only be better. Of course there are better/more powerful ones out there (I've got some of those as well), but the difference between no lights and a couple of ParBars is tremendous. My experiences have been good. Cool running, compact and robust. Up and running in seconds, and no waiting for them to cool down before moving them. Efficiency isn't generally a concern since it's generally someone else's electricity, but the cool running can be a real bonus in a cramped pub etc, when they're just above your head. I've always bought second hand, and consequently have had a few problems with LED failures, and occasionally the driving transistor. Thankfully I'm handy that way so have spent a few evenings soldering new LEDs in. In fact I now look for second hand ones with failed LEDs as you can pick them up fairly cheap. Probably not economically sensible if I was charging for my time, but I love tinkering with this stuff.

[quote name='gary mac' timestamp='1383648857' post='2266923'] Still a useful reply for me Richard, as I've been thinking about replacing the six spot light bulbs in my kitchen ceiling light with LED's [/quote] I've had a very good experience of LED Lights for domestic use. True a few years ago the colours were awful (blue) and output was low, but the ones I have now you can get in a range of whites (Warm, Cool, Daylight). The only problem I've had recently is that some cheap "warm whites" are too yellow. Always look at the colour temperature in the spec (warm white seems to range from 2700 to 3500K) than than the words, and if you don't like them send them back! Also pay attention to the beam angle! a lot of them tend to be quite narrow (35 - 40 degrees),, but the ones I've gone for are 120 -140 degree (ish) and are far better for general lighting. The ones I use tend to be around £8 each for a 5/6 watt one ([i]around[/i] the same output as a 50W Halogen). Instant on, and Flyfisher has already done some sums. I have 13 of them in my kitchen alone and if they last 10000 hours (some probably already have), then according to FFs calcs that's £700 quid saved. I have had a few premature failures, but the supplier I use (Homewatt) have always exchanged them without quibble - even one that failed after 18 months. Out of interest they do claim 35000/50000 hours, and some of mine have failed early. It's not a lot of consolation, but only in one case has one of the LEDs itself failed - otherwise its always been the driving electronics (integrated in the bulb) I'd say try them, but YMMV.

Two old Shermann full range (3 way, 15" + 6" + Tweeter) cabs, old 16 channel studiomaster club mixer. Two old nameless Foldback wedges, old Crown XLS800 (?) amp. The amps is not a patch on its predecessor (Audio management 600),and looking to replace it with something lightweight when funds allow, but it all sounds great and has done everything we need, including outdoor pub garden gigs. The Shermanns have has Tubas, Sousaphones and bass guitars through them and we've never felt that we need subs.

Would it be stirring things up again to mention "Power Factor"?

There's a site in the states that has obviously stripped a Fender Urge down and is selling all the bits separately, and charging silly prices for them.

Bring back Bob Harris!

[quote name='Alec' timestamp='1383666649' post='2267314'] Or add a second socket to either/both of your cabs if the outlet plate easily allows. Just connect in parallel. [/quote] This is what I'd do, if at all possible [quote name='Alec' timestamp='1383666649' post='2267314'] I do find it daft that so many cabs & amps come with just a single socket (though I realise it saves money) - they could at the very least have a second hole blanked off to allow for an easy DIY mod... [/quote] I'd hope that its more a problem of space with the compact amps these days. I'd be pretty peed off if they only fitted one to save a couple of quid on a £500 + amp!

Saw them in the Billy in Northampton last night. Bass player is still functioning, but didn't try the jump off the milk crate this time! (mind you, if you did that in the billy he'd crack his head open first, then fall on the floor)

Wasn't there myself, but here's a snippet of my lad's band a few weeks ago (he's the drummer). [media]http://www.youtube.com/watch?v=gtFFFbsiY_I[/media] He appears to keep playing!

Very Crafty!

Thanks for all your thoughts chaps, Ill probably have a go at it next weekend and will report back. Clive

I need to drop the action at the nut on my Ibanez SR605 a little (1mm at most),and was looking for some advice and hints on how to proceed, and in particular any pit falls to avoid. [size=4]I'm aiming to get the clearance at at the first fret close to that at the second fret when fretting the first (as it is on my 505). [/size] I'm pretty handy with stuff, but the only nut work I've done was to remove a complete nut, take 1mm off the bottom and then replace it. I've never actually modified a nut slot. I don't have nut files but I do have a selection of flat, square and round needle files that will fit into the B to D string slots quite comfortably. Thanks in advance.

[quote name='alyctes' timestamp='1382746324' post='2256291'] Hmm. I like the Peavey neck on its old body... so, perhaps I should be working out a way to remove 0.5mm from each side of its heel. Obviously it needs to be reasonably symmetrical. I can't afford proper luthiery. So, I'd be grateful for suggestions [/quote] Might be neater and easier to open up the pocket by a millimeter then reduce the neck.

In your case, as someone has said already, there is a fundamental difference in that one is fan fretted and the other isn't. I would have thought anything else would be secondary. If they were both the same, fret- wise, then I agree with the toss a coin principle. I.e. pretend that the decision has been made for you and see how you feel about that decision.

A 32" headless five string with a decent B string, 24 frets, 16mm string spacing (at the bridge). (Status probably make the closest thing to this - but unfortunately money is an object in real life) If I were to be really extreme then Id say a twin neck fretted/fretless version of the above, but cleverly designed so that the two halves would disconnect and be played separately if required.

How much??? It would appear to be a flat response (hopefully) buffer/line-driver, which is probably what the output stage of an active bass is anyway. I wouldn't expect it to have much affect at all, and for a passive bass there are probably cheaper options out there.

Bring back OGWT!!! Much better than "Later".

I've got an SR505 which I found far too trebley with rounds on. Was constantly playing with the Treble backed right off, which left nowhere to go. Put some Status Hotwire half rounds on and it was a vast improvement. Happy with the sound with everything flat, which gives plenty of room for adjustment as required. (also note that I personally found the status hotwires far nicer (sound and feel wise) than the d'addario half rounds)

Haunting sound, but I personally could tire of it very quickly.

No, but was considering buying a second power supply for my Tascam GT- R1 from them, so also interested in peoples comments.

[quote name='xilddx' timestamp='1381695614' post='2242571'] You've heard of summat called marketing and public relations, right? [/quote] Off course, and it may be that. Certainly the fact that it has been videoed and put on the net is a marketing exercise and not some altruistic gesture to share the knowledge. He may even be an actor playing the bumbling craftsman to sucker us all in, but I don't see how that affects my comments. To repeat/clarify the core of my point: It may be a "load of bollocks", but I don't have enough knowledge to pass comment either way. However, it's not a great leap to see how the resonance of a piece of wood when hit with a hammer might give an indication of how it will sound on a guitar, so I am reluctant to slag the bloke off as talking a load of bollocks based on that video. Other people seem not to share that reluctance.[size=4] If some experienced builders came on this site and contradicted what he says from a position of knowledge then I'd pay them far more heed.[/size] [size=4]If, say, John Shuker put a video up saying that same thing would be be slagging that off as marketing hype? I suspect not. It would be "Oooh its John Shuker, it must be true", when in reality the bloke in the video has probably built (all right - assembled) more guitars than John Shuker will in his life time.[/size] [size=4]Hasten to add that I have nothing against John Shuker, its just a name of a builder who gets mentioned a lot round here.[/size] [size=4]In the past I've seen threads about health and safety, and seen how keen you are to defend your professional position and knowledge. I just think that, in the absence of knowledge to the contrary, we should give this [/size][size=4]the bloke benefit of the doubt regarding his professional opinion.[/size]

It seems odd to me that we have a forum of mostly amateurs (when it comes to bass building) slagging off someone who has been doing it as a career for quite a few years. i.e. "I can't understand how tapping a piece of wood with a hammer can help predict its tone in a guitar, so therefore it must be wrong". Are these the same armchair experts that shout their valued advice to the professional players while watching Man. U. V. Chelsea on the telly? It may well be a load of old bollocks, but I personally would not venture to slag someone else off when I don't know any better myself. Also I agree that he gets a bit muddled in places, but so might I if my boss said "explain your job on video". I also agree that with an electric guitar tone can be manipulated in many ways, which can reduce the effect of woods, but as a general principal in life (IMHO) its best to get the fundamentals right and build on that. I.e. build on rock rather than sand. And on the technical side of hitting it with a hammer. This is a common and accepted technique when determining resonances in machine tool structures (though monitored by accelerometers rather than by ear).