Count Bassy

[quote name='mart' timestamp='1337157387' post='1656219'] Just to extract one highlight from that tb thread that you linked, Neutrik say their jacks are 6.29mm (according to the technical drawing download available from [url="http://www.neutrik.com/en/audio/plugs-and-jacks/px-series/np2x"]http://www.neutrik.c.../px-series/np2x[/url]). So if these differences matter, then there seems to be more choice than simply 6 or 6.35. [/quote] We're talking 60 microns difference - it doesn't matter in this context. Let's face it if the hole in the socket is 6.35mm/ 1/4" then you wouldn't want to try and get a 6.35mm/ 1/4" plug down it! I don't believe that anyone makes a 6.0mm jack plug, when they say 6mm they mean 6.35mm. Even if someone does make a 6.0mm plug then it would still work fine in 6.35mm socket due to the way the contacts are sprung. Had a look at various drawings of sockets on their site, but couldn't find any that actually specified the hole diameter. With regard to the OP - as others have said, your socket's probably faulty/worn/dirty. You might try cleaning the inside of the socket barrel (if its that sort of socket) with some emery or a plastic pan scourer type thing (Scotchbrite). Also you can bend the spring contact / retainer to make the plug sit and be retained correctly (clean it while you're in there)..... Or just buy and fit a new one, as already suggested.

[quote name='Count Bassy' timestamp='1336349551' post='1644448'] +1 to this, and any half decent CNC machine is potentially far more accurate and repeatable than any person could hope to be. [/quote]

whoops, double post

[quote name='bartelby' timestamp='1336300436' post='1643636'] I'm a fairly aggressive player, using picks and fingers. I used to use Rotosound wounds and would get about 6 hours of live/band practice use out of them before they were too dull, for my liking. D'Addarios last around 10-12 hours, but I have a set of DR Neons on my Stingray and they've clocked up about 20 hours and are still sounding good. It's taken me 20 years you realise cheaper strings are false economy. [/quote] Not aimed at your post particularly, but surely it depends on the bass to some extent. I have d'addario's (Nickels) on my Fender Urge and like them. I tried them on my Ibanez SR505 and they were zingier than a zingy thing on zing street. I had to play with the treble backed right off to get an acceptable (to me ) sound. I had these for several months and they were still too zingy and I ended up with Status half rounds. My point being that, on some basses, and according to how much zing you wanted, you could start with new strings and the treble knocked down, and compensate for the ageing of the strings with the tone controls, effectively extending the life of the strings.

[quote name='SidVicious1978' timestamp='1336101345' post='1640925'] [media]http://www.youtube.com/watch?v=nwC2o9SCqgc[/media] [/quote] Got to say that if you took the drummer away from this it would be pretty dull.

[quote name='Monckyman' timestamp='1335873227' post='1637246'] Seriously guys. This is niche. [/quote] I agree with this. The vast majority of people I know (which includes lots of musos) have never heard of him, and I hadn't until I started coming here. Plenty of other dead bass players who would have a wider appeal. However, it's great that someone wants to make this film enough to sink their money into it.

[quote name='4 Strings' timestamp='1335274659' post='1628418'] I'm making up a pair of Speakon cables for a nice new amp and my nice new(ish) speakers. Its a 900W amp (although I frankly am a little cynical about that). Will there be any difference at all between the two cable sizes? Will the 1.5mm2 be well within its limitations or will I be pushing its limits (whatever that may be)? Cheers [/quote] Is that Wattage RMS, and into how many ohms, and what is the length of the proposed cable?

At the risk of being kippered, I'd say that a class D amp [b]is[/b] digital, in that the output devices are either 'On' of 'Off' (apart from brief transients) In the same way that digital computers works with "ons" and "offs". Not digital in the sense of a CD or MP3 where a digital value represents an instantaneous volume level, but digital in the sense of Pulse Width Modulation. Unlike analogue computers which used to work with, well, analogue signals. PS: Has anyone put a switch mode PSU into a "conventional" (solid state) Amp? -would preserve the original sound (if you believe that there's a difference), but save a ton of weight.

[quote name='icastle' timestamp='1335644890' post='1634261'] Yep. I'm using a 505 and just haven't seen, heard or played anything that I'd want to replace it with. If the SR300 is just half as good as an SR50X, then it's going to be an absolutely cracking instrument. I'm wanting to try an SR5005 to see if it really could be an improvement on the SR505. [/quote] Yeah, I'm using a 505 at the moment (the older one without the mid frequency switch), and think it's brilliant. I used to find it too bright and zingy, and always played with the treble backed right off, but have recently changed to Status half rounds and loving it even more. Now liking the sound with all the EQs about flat, which leaves me plenty of room for adjustments! I'd like to try a 5005 as well, but to be honest the 505 is a better bass than I am a player, so can't really justify anything better. Mind you I'd quite like the 605, purely on aesthetics, which is far as I can see is the 505 with an Ash body. (SR 4505 also looks nice, but so it should at around 2 grand !)

[quote name='BigRedX' timestamp='1335538483' post='1632871'] I have to agree with happy Jack on this one. IME if a mic has an on-off switch that is at all accessible it will get moved to the wrong position at the most critical time. I'd try and set up the PA so that the vocal mics were still a long way from feeding back. There's nothing worse than fighting with the levels when your constantly on the verge of getting feedback. [/quote] Like all things you should only be allowed an on-off switch if you've got the brain to use it properly! I've never come across a problem with popping when switching on and off (with dynamic mics anyway) as long as the switch shorts the signal rather than disconnects it! I agree on setting up the mics "conservatively" in principle, but so much depends on the basic volume of what you're micing. In my (limited) experience quiet singers are a nightmare in a live situation.

As others have said, unless you completely cover the mic then you'll change its pick up pattern which might make it worse. Your hand could simply act as a reflector, bouncing the fold back into the front of the mic. Shoving it under your arm pit (arm down) generally works, but may not be desirable, depending on the state of your arm pit! If the mic doesn't have a switch then get one of those switching Female XLR connectors from Neutrik [color=#666666][font=Arial, Helvetica, sans-serif]([/font][/color][url="http://www.neutrik.com/en/xlr/fxs-series/nc3fxs"]NC3FXS[/url][color=#666666][font=Arial, Helvetica, sans-serif]) [/font][/color]!

"Sixteen Tons" - because A: the bass line is easy, and easy to play while singing (I can do it, so it must be) B: the bass line is the overriding theme/feel to the song, even in the Ernie Ford version. "Sitting on Top of the world" in a Howlin Wolf style also works, because A: the bass line is easy, and easy to play while singing (I can do it, so it must be) B: The song feel works with sparse instrumentation.

[quote name='JTUK' timestamp='1334061837' post='1610272'] Once enough people get up then the band takes a back seat... and the band needs to avoid a trendancy to be too handy so as not to put newbie people off. Resist the temptation to be the clique that keeps everyone from embracing the idea. [/quote] This. House band needs to be there to fill in if it gets quiet, give support where its wanted, and to stay out of the way when it's not wanted (and to have slot of there own commensurate with everyone else's slot) Try very hard to share the available time evenly. I go to one open mike (Mostly singing rather than playing) and there a few people who push themselves forward all the time and monopolise it, and I know of a couple of decent acts that have given up coming because they don't get a go. Managing one must be very difficult and I wouldn't want to try it myself. I guess "firm but polite" is required when people have had their share of the time. The one I go to is is run by a lovely bloke, but he tends not to be firm enough. Probably best to set the ground rules from day one, even put them up somewhere, so everyone knows what they are.

[quote name='spike' timestamp='1332433619' post='1588354'] This is the one you need Bilbo, very reasonably priced too [url="http://www.sax.co.uk/acatalog/Selmer-Series-III-Soprano--125th-Anniversary---Solid-Sterling-Silver-226135846.html"]http://www.sax.co.uk...-226135846.html[/url] [/quote] For £6k I'd have thought they'd have includes a case at least.

The body may be gone, but the spirit and legend will live on.

UDATE: I have now fitted these strings (delayed because of a gig and didn't want to mess around before that). The thick part is about 1/3 of the way round the post and it hasn't snapped (yet). I like the sound as well. As well as the over tone change the D and A strings sound a lot 'thicker' than the previous strings (D'addario nickel rounds), which I guess is what you'd expect with half flats. Also the B string sounds a lot smoother. With the previous strings it was OK down to the D, but below there was quite a noticable change in tone, getting a bit clanky. The new strings keep the same tone right down to the Open B. Not sure whether this is directly due to being half flats, due to the increased tension, or simply due to being a different manufacturer. Previously had to play with the top band of the amp EQ right down, and the treble on the SR505 right down to get a sound I liked. With these strings it now suits me with the treble around neutral, and I can adjust it either way if I need to. I can't see me wanting anything brighter than these strings with the treble (on the bass) right up. If I was being super fussy I'd say that I'd prefer the B and E strings to be slightly brighter than they are, while leaving A,D & G as they are. £25 well spent!

[quote name='mart' timestamp='1332333921' post='1586742'] Those recessed locks have some advantages, but also a few practical disadvantages: 1) It's going to take a bit of woodwork to put those recessed locks into a bass, 2) You can't use any other strap on that bass unless it's fitted with Dunlop straplocks, 3) If you sell it, it's likely to be an issue for many buyers, 4) It will slightly change the balance on the bass. For many basses that won't be a problem, but many old Warwicks have flush-mounted Dunlops, and for some of their designs neck-dive is a real concern, and I suspect the Dunlops exacerbate it. (Although it may be that if both buttons are flush-mounted then they cancel out). [/quote] I use Dunlops but have shied away from the recessed ones for your reasons 1-3. I'd doubt that reason 4 is significant, as you say yourself, they'd probably balance out. I have had absolutely no problem with Dunlops, just need a spot of WD40 now and then to stop them squeaking. What Dunlop could do with making is some sort of adapter that would fit into a recessed fitting but end in a button so a standard strap can be fitted (patent applied for).

[quote name='EssentialTension' timestamp='1332281491' post='1586197'] Anyone want to dispute or add to this list: D'Addario (Fender) DR Dunlop Elixir Ernie Ball Gallistrings GHS (Lakland, Overwater?) La Bella (Sadowsky) Mapes Newtone Picato (Overwater?) Pyramid Rotosound Status Thomastik [/quote] I just bought some Status hotwire 'ground wounds' and the packaging said 'Designed by status and made in the UK' - or something similar (packets at home - I'm at work), which suggests that do not actually make them themselves.

From what's been said above Newtone also need to be on the list

Alternatively just man up!

[quote name='silddx' timestamp='1331902610' post='1580644'] and I am not comfortable singing with a fake voice. [/quote] I used to be the same, with the result that I sang in a louder version of my normal speaking voice and the result, although in tune, was pretty harsh and horrible. I was having some lessons for the purposes of doing some backing vocals and my teacher was saying try this and that, but I said the very same thing as you say, that I felt uncomfortable (and a bit of a poser) singing in a 'put on' voice. He made a very good point though: When you play an instrument, such as a bass, you try out different basses, you try different amps & cabs, you experiment with different strings and with EQ settings, and sometimes go through pedals, until you get a sound you like. Well (he said), your voice is exactly the same . It is an instrument, so play around with it until you get a sound you like, it is still [b]your[/b] voice. The only difference is that the controls are inside your head and body. The idea does take some getting used to, and it initially feels a bit weird hearing a different voice coming out of you. In my case I have got a lot quieter and more mellow, and I now do a bit of singing at a local open mic and it seems to go down well. Also, don't think that you have just one voice - you'd adjust you bass settings for a different song, so don't be afraid of doing the same with your voice - it's still your voice. Believe me, having changed my singing voice is a lot less embarrassing, than if I hadn't.

Just heard from Rob (with apologies for the delay due to the bass show). He seems to think it shouldn't be a problem. I'll try it and let you know. Ze Count.

I'm afraid that 'Comfortably Numb' and 'Wish you were here' will forever be "Uncomfortably Dull" and "Wish I was somewhere else" in my book.