risingson

Aren't these bassplayer.tv vids?

I use open strings as stepping stones to get to places and as passing notes, for example if I'm in F major I've got my major 3rd on the A, my major 6th and my 9th on the G, the major 6th and 9th in particular work well as stepping stones to get to other notes or the next chord, it's a classic James Jamerson trick. If I'm in C then I've got my 2nd on the D, a low major 3rd on the E below and my 5 on the G above etc. If the notes don't function in the key I'm playing in then you're only ever one note away from something that does and therefore you can just use them as chromatic passing notes if you want to.

GAK have been awful in the past with claiming to have things in stock when in fact they don't and will then delay posting an item to you whilst they order it in. I don't know the ins and outs of it but it must be in breach of advertising standards.

[quote name='ThomBassmonkey' post='1177395' date='Mar 26 2011, 04:37 PM']What is it about the really early P or J basses that makes them so desirable? I've never understood it personally, craftsmanship and quality has improved a lot since then, what makes them so special to play? I can appreciate the age of them, but I don't see that it specifically makes them a better instrument.[/quote] I love vintage Fenders for the looks and sounds, I've played a lot of Jazz's and P's but I've honestly always found that the older basses sound quite a lot better... maybe it's a bit of a psychological thing as well, but if I could own any bass and have to play it for the rest of my life it would be an early 70's Jazz.

#1 Sandberg California JJ/JM-4's and 5's - I've played a few of these now, I initially put off trying them out as I thought they wouldn't be my thing. As it turned out they're up there with the best basses I've ever played, and sound wise they outperformed every Sadowsky I've ever tried (and I've now tried a lot of them). Absolutely brilliant construction, electronics, looks and build quality. Brilliant basses! #2 late 80's/early 90's Musicman Stingrays - Probably the best kind of Stingrays I've come across, the simplicity of the 2-Band EQ and the ease of dialing in a very usable tone very quickly. Love the necks on Stingrays as well, they fit the hand so nicely. Not perfect for every situation but close enough that I'd happily use one. #3 F-Bass BN5 - I walked all over Stockholm one day trying to find this music store that claimed they had one in, only to get there and find out it was actually the Copenhagen store that had it! Grrrr... so when I finally did get to play one in NYC, it was a massive treat. Great bass, comprehensive EQ, extremely well built with the quirkiness of a boutique build and the traditional capabilities and playability of a 70's Ash bodied Fender Jazz on steroids. I tried an MTD 535 right after it and it totally paled in comparison, despite it being quite a bit more expensive. #4 Early 50's Fender P-Bass (Single coil) - I'll always be a Fender man at heart, and getting to play one of these really early P-Basses was like a dream come true, the sound that came out of this bass was just incredible; fundamental, warm and so fat. Like the Mecca of bass guitar. #5 1972 Fender Jazz Bass (Rosewood/Blocks, Sunburst and Tortoiseshell) - Belongs to a friend of mine, it was his Dad's and when he was given it it still had the original flatwounds on it that came with the bass, unfortunately he'd taken them off by the time I got to try it out for a gig but it still remains an era of the Fender Jazz bass that I would recommend people tried.

[url="http://www.synergydistribution.co.uk"]http://www.synergydistribution.co.uk[/url] Email Peter Brown, I've dealt with him due to endorsement offers and found him to be incredibly helpful, he'll be able to forward you the pricelist for custom order Sandbergs. EDIT - these guys are the UK distributors.

[quote name='Duarte' post='1174124' date='Mar 24 2011, 12:40 AM']Who breaks strings!?[/quote] I've done it, admittedly just once but it's not just that really. Our guitarist convinced himself he didn't need to bring a spare guitar the other night to a gig, so he didn't. The electronics completely failed on his guitar halfway through the set and we were left without him for the rest of the set. It's just common sense, just because you think it's not going to happen to you doesn't mean it's not your responsibility to be prepared for the worst.

Why would you compile a list of the top 65 basses you should play? Is that actually compelling reading?

[quote name='obi 2 kenobi' post='1173909' date='Mar 23 2011, 09:24 PM']Main bass = stingray. Back up = another stingray. Only take 1 bass to gigs as they're mega reliable[/quote] ...until you snap a string

[quote name='steve-soar' post='1173668' date='Mar 23 2011, 06:53 PM']They're all taking the piss. More is more but less is best. [/quote] We often sit around in our band and have a laugh with players like that, obvious chops and everything are impressive. But man, I couldn't imagine working with a drummer that can't sit in one spot for more than a few bars, I'd want to kill him!

[quote name='Clarky' post='1173659' date='Mar 23 2011, 06:46 PM']I've not got my grubby mitts on it yet (arrives from US next week) but I have every finger, toe and other moveable part crossed that this will be the one I will never part with - a year-of-birth (1963) Fender Precision: [attachment=75568:55377879...9f35a9_b.jpg][/quote] I couldn't put in words how jealous I am, if you do ever sell make sure it's to me!!!

[quote name='chris_b' post='1173232' date='Mar 23 2011, 01:15 PM']I find that the lack of energy (not the jumping about kind) in so many gigs/performances these days is really frustrating. This is an old clip of Gladys Knight but the band really fizzes!! [/quote] That drummer is taking the piss in 'Midnight Train to Georgia'!

My four-piece always take a deposit before a function gig of £150 + another £800/900 on the night, sometimes more. Pubs and clubs we usually take £350-400 on the night, generally anywhere that will pay us less than that aren't worth playing unless they can offer us a very regular slot. There have been other gigs that I've earned a lot more at, but they're few and far between unless you're going through agencies and we're not.

[quote name='steve-soar' post='1171421' date='Mar 21 2011, 10:07 PM']Pete? I am the new TIM.[/quote] Oh dear Steve!! Midway through talking about my Uncle Pete whilst writing the message... that'll learn me for trying to conduct a convo and be on Basschat at the same time. Can't multitask to save my friggin life!

I won't listen to Muse out of choice really but you've got to admire them for having some great music and putting on an excellent live show. Some people complain that there isn't enough talent in music, but Matt Bellamy can definitely play and write. As for Wolstenholme, the guy has some serious stamina and one of the most recognisable bass lines in recent history under his belt... I bet he's laughing all the way to the bank, and rightly so.

Love it when you get helpful people like that, nice one iCastle! Steve Soar did a setup on my Jazz not but a few months ago, I was slightly at a loss with what was up with it but he did a great job of getting it playing a lot closer to how I wanted it to play, completely free of charge! I'll be going to him if I need work doing again with cash next time.

[quote name='silddx' post='1170728' date='Mar 21 2011, 02:31 PM']Christ, there are some funny attitudes around here aren't there. If you like the sound of your 62 Precision into a B-15 unadulterated for your Marvin Gaye tribute, fine. If you like your Dingwall through a NaztyAss JerryCurl FuzziFunk for your RHCP cover band, fine. What's there to argue about? No amount of effects will save you from playing like a prick, and no amount of purity will make you sound like Jesus. I like a very produced sound live and in the studio so I use compression and a little chorus on most of my sounds. I need to pretend I'm a cello sometimes. I need loads of subs sometimes. I use amp sims, compression, distortion, flanger, noise gate, volume pedal and delay in a single song, all together and it sounds amazing and suits that particular song. Do what you want, don't judge others because they are different. You are either a sensitive musician, or an insensitive one. Sensitive musicians do what's good for the song with the agreement of the composer.[/quote] Always love the 'no sh*t' approach to posting Nigel!

[quote name='skej21' post='1169862' date='Mar 20 2011, 07:36 PM']Personally, I think the use of compression is often needed more in live sound, as it's purpose is to reduce the maximum and minimum levels of an audio signal, which means you can claim your own space in the overall sound and don't take up room you don't need, meaning the overall sound can be cleaner and plenty of space for all instruments to be heard, rather thana "wall of sound" approach which most bands seem to settle for. Same reason as why you would use compression in the recording studio, just in a slightly different context. I like this description - Compression is often used to make music sound louder without increasing its peak amplitude. By compressing the peak (or loudest) signals, it becomes possible to increase the overall gain (or volume) of a signal without exceeding the dynamic limits of a reproduction device or medium. The net effect, [b]when compression is applied along with a gain boost, is that relatively quiet sounds become louder, while louder sounds remain unchanged[/b]... This is why I use it in a live setting.[/quote] It's horses for courses for me, in smaller venues I never use it, we never get complaints of an uneven level across the front of house and depending on what kind of venue it is I don't think the results of me using a compressor would be well noted amongst the average gig goer. Larger venues I would certainly expect any decent sound tech to be using decent compression i.e. considerably better than what I could own in a pedal, and by that stage it's out of my hands anyway having usually been D.I'ed.

[quote name='skej21' post='1169728' date='Mar 20 2011, 05:44 PM']Just got to say, I'm hoping this is a trolling exercise/joke... If so, bravo. If no, I don't even know where to begin...[/quote] I don't like using compression live either in a lot of situations, although at bigger gigs with decent soundsystems/sound guys then it certainly has it's uses. In the studio of course it's an entirely different story. I assume iCastle probably means a similar thing?