Beedster

I see both sides. Ive made s LOT of Fender-alike bitsas over the years, perhaps 30. The start point for me is to find a neck and body that resonate well together; some do, some don’t. In my experience some necks will make some P Basses sound more ‘like’ a Precision than other necks, and acknowledging my own bias here (I prefer Precision necks anyway), I’d say that this effect is more likely to happen with a fat Precision neck. So, a Precision neck will make a bass sound better (to my ear) than a thinner Jazz Bass neck more often than the other way around. But of course, ‘better’ is a difficult idea. I can’t argue with the idea that in many/most cases the above might be a function of the quality as opposed to the quantity of the wood, replacing a poor quality J-Bass neck with a high quality P-Bass neck is not a like for like after all. Also I doubt anyone listening even to the bass soloed let alone in the mix would hear much if any difference between the skinniest and the fattest neck. But if I want as much Precision tone as possible from a bass, my start point would be a Precision neck.

That made my bloody day that did. Slightly ahead of the beat just like our cowbell player as well

Not sure age and tradition are a thing Pete, there are traditions associated with far newer musical, erm, traditions, than bluegrass

Makes PayPal look positively charitable by comparison

Not dumb from eBay’s POV, they hold all revenue WORLDWIDE for around a week, think about the total at any one time and then calculate the interest they’re earning, they’re playing the bank’s game now, so the poor punter will have to wait for eBay first then the bank to hold into their cash in order to to fleece some jnterest before it gets to where it should and vould have been 5/7 days earlier.

Paypal payment to seller was immediate, ebay will ‘initiate transfer to bank within two days of buyer paying’, which probably means several days total plus no doubt all sorts of shenanigans that might slow it further

I mentioned this in a thread a while back Seems a not so transparent way of eBay getting even closer access to bank accounts, whilst making more money by holding onto money for longer ('usually' is always an interesting word when used to define a payment period)

It's all words and images really isn't it, orchestral music by definition is played by an orchestra, while classical music can be played on a computer, I defy anyone to tell the difference in some well executed examples, but pay for a classical concert ticket you'd be bloody annoyed to see a modern incarnation of Kraftwerk/Tangerine Dream on stage (perhaps not). Some bands - and some audiences - are in it for the music, some for the image, most fall somewhere between the two. Music and the arts generally are as much about subjective traditions as they are objective outcomes, and given I still find it hard to watch bassists in 60's pop bands playing root-fifths on Rickenbackers (or Rick James playing funk on the same instrument), traditions have a powerful effect

Must admit that having slagged off a previous band leader in this thread for telling me what bass to play, I've done the same thing with our guitarist, whose choice was very much based on aesthetics (and late 60's semi-acoustic) as opposed to function. It was a lovely guitar, and no end of people came up to him at gigs to check it out. But it sounded awful in the context of our set, was a feedback trap, was hard to keep in tune and, perhaps most importantly, was not an easy instrument to play, being large and bulky with a baseball bat neck and action you could drive the proverbial bus under. He's a good mate so i doubt he would have felt as if he was being told to change guitar, but I guess that if we looked at it objectively, he was told to. I'm a bad person

My set score in 2015

No need to complicate things with the fifth

Talk about the wrong Marshall

Basses are addictive, 6-string basses are basses, ergo 6-string basses are addictive

Yep, not so much making the PUP sound better as much as having less of a negative effect

Always taken a backup, never needed one

I was 'told' by a bandleader that I had to play a Precision in a three-piece punk/new-wave/indie outfit. Irony was that my usual bass was a Precision, but the Ric I was using in that band just worked better for me, the Precision just didn't fill the room the way the Ric did. But he had his mind set on it, and I suspect the reason he'd set up the band in the first place was that he liked getting his own way. Last I heard they were looking for a new bass player.

Thanks guys, I think I'm going to record a few sections with different mic positions/proximity, and different levels of compression, and post it here to see what you good folks think

Hadn't thought about adding an FX to be honest, might try a few over the weekend. My voice is actually pretty good (vocal tone a whole lot better than bass tone), something that's been picked up by a few of the radio people I've worked with. Guess this thread is about trying to get the best out of the gear I have. So wish that terms such as Neumann, Neve or SSL weren't mentioned

Thanks Dad, I have a vocal booth so room is not a problem, but the dynamic range of my voice using an SM7B is reduced the further away the mic from my mouth. I'm doing a bit of trial and error on this at present

Of giving a flying flip

I imagine they conducted a thorough investigation into whether they could be arsed to do anything about it and came to the conclusion that they could not. IP are usually quite good, PF a farce as we all tend to have found to our loss! Very glad you got it back, do love that you paid for insurance to cover their risk not yours, yet they still challenge you on proof of purchase. It’s as if they’re suggesting you might have devised a cunning criminal plan to force them to deliver it to the wrong address to land a huge payout

That's very kind, I might take you up on that. I'm going to do some playing first Anyone able to recommend a resource re multi-band compression for voice work?

Thanks, more food for thought

That's really interesting, must admit it didn't occur to me that it might be something to do with the broadcast process. having said that, a couple of the pieces in question are online - and therefore not broadcast per se - so would that same baked in process apply? I think what I'm looking for might be in the 'not too much else' There's certainly a smoothness to the voice track that suggests a few processes - compression, de-esser (I'm very essy), zero plosives (I'm also very plosive) - without sounding overly processed. I'm struggling to achieve the same in my studio, at least without the voice track sounding overly processed, so I'm guess it's just the need for more experimentation. I guess the core of the above question is whether there's a recognised processing model for broadcast that might serve as a staring point for me; I'm pretty confident for example that my voice wasn't treated to any bespoke FX, as I doubt the Beeb feel the need to make my voice sound any better than it does through it's normal signal path?