hubrad

[quote name='karlfer' timestamp='1457961530' post='3003342'] Love it The lad can play AND entertain, well done him. Mind, the vocalist [/quote] I was just thinking that.. traditionally the vox is the front and nutty 'hey, look at me go!' guy, and the bassist stands in the shadows.

Have a look at Juan Alderete's page http://www.pedalsandeffects.com/ Beside being an awesome bass player, he's a total pedal nut! You can lose yourself in that site..

Haha.. eagle eyes!

[quote name='RhysP' timestamp='1457697051' post='3001023'] Seems a bit cheeky to me seeing as they're a cover band as well. [/quote] This.

The above, also 0000 grade wire wool - great for polishing up fretless boards, too!

Crumbs! Sounds like a sad state of affairs, no matter exactly what happened.

One finger..

D'Addario will do singles; you just need to find a shop who will order them for you.

[quote name='Dad3353' timestamp='1456669571' post='2991185'] [media]http://www.youtube.com/watch?v=Yrj2Xhznv20[/media] [/quote] Useful video. . There is no definite right or wrong, although some will tell you there is! My own limited experience is that French allows a bit more light finesse with the flexibility of the fingers, where the German allows a bit more power due to the angle of grip.

3/4 is very much nominal, and encompasses a range of lengths. Add to that the weight - serious shops will tell you down to the gram - and choice of grip, type of wood, hair etc, and there are so many variables! If the price seems reasonable, and especially if you can get a little go on this bow first, I'd say go for it if you're looking for a bow to get you started. My first one was about 30 plus a rear, but it got me to the point where I knew I was up for spending a few hundred. Then I changed from French to German grip and so it goes.. The main thing to me is that you feel comfortable enough holding it, so there's a good chance you'll actually play with it. The rest should follow, the amount of work depending on where you're thinking of taking it.

I know you're off to the Show, but I'd have a look at this if it's nearby.. http://www.ebay.co.uk/itm/overwater-perception-deluxe-5-string-fretless-bass-/222028065904?hash=item33b1e76c70:g:GDcAAOSwll1Wxi00

Ooh.. those two look good together! :-) We have a mutual friend in Gifford Rolfe; he's spoken very highly of you, Lou!

I'm sure I read, back in the day, that Jaco's 'chorus' effect was in fact achieved by running two stacks(!) with an extremely short delay between them. Applying finger vibrato then gives you an immense sound, kinda manual chorus. Tried it once with two amps, brill sound but I really wasn't up for doubling the amount of gear I already carried! Meself, I hardly use effects, preferring rather to use my fingers, but if I do then chorus/uni-vibe can be fun especially on more fixed notes such as natural harmonics. Each to their own.

[quote name='uk_lefty' timestamp='1455883292' post='2983244'] Off topic - but your band is awesome! [/quote] Thanks.. they are rather, and they put up with my foibles, particularly variable availability, rather well. A superb bunch of guys! :-)

+1 for the Thunder 1a.. such a versatile bass! I occasionally play one in a band, and it's great for a 4 string with frets. [size=4] [/size] Could be the whole active/passive thing.. go back to passive, and try to work out what's 'missing' relative to the tone you're after. Get on Seymour Duncan website and listen hard to all their P pickup samples remembering these are in another bass. It's all about relative tones, and results will vary with the actual bass, strings, playing style and strength, state of your nails/choice of pick... Experimenting is ace! Yonks back, I had 2 electric guitars of which I preferred the tone of one but the feel of the other. Swapped the pickups, hoping to achieve one amazing guitar. . No change whatsoever! :-D Tried the Fender pickup in the Westone yet?

Another thing strikes me.. what's your normal rig? If you have a 'normal' amp and it sits at floor level, firing past your ankles, you'll barely hear anything compared to a 'good' amp on a stack so now one cab is pretty much firing at your head. Same with feedback - firing past your ankles vs. firing straight at your bass.

Nicely done balancing the patch volumes! That's one of the trickiest bits for me. Good to hear a side-by-side test like that, especially played by someone else so I can just concentrate on the tones.

Neat idea.. does the looper affect the voicing of the bass at all, or leave it pretty natural as per your amp settings?

[quote name='JimBobTTD' timestamp='1455448217' post='2979105'] Done. I listened to the tracks again and again...as often as I could, really. After a while, I felt that I knew the songs. The downside, though, was that the guitar and bass were a bit low in the mix. I played through them using the sheet music as may times as necessary until I felt that I knew the tracks well enough to play along to the mp3s of them. Some tracks, for some reason, I just could not grasp. For these, I deconstructed them - writing out the structure, chord changes etc - and that helped me understand them a lot better. Week 1: met up Wednesday and Saturday for full-band practice. Week 2: met up Monday with the whole band, Friday with the guitarist and drummer (playing along unplugged in the drummer's flat while he kept the beat with a keyboard) and Saturday for a final run-through with the whole band before heading off to the gig. All in all, I learnt all but two of the 19 tracks, but didn't play one more as I didn't feel comfortable with it. It felt very strange to stand on stage and not play...but it would have felt worse to fluff up everything. The music was very challenging; I have come from a fairly straightforward rock/metal background where everything was in 4/4. This band's music was incredibly fast and had lots of time changes. This is what threw me in the beginning...I could play the notes but kept being thrown off by the timing. The gig went well. As always, the sound tech did his best, but I had a hard time hearing myself or the singer. I had to play off the drums the whole time - which is what I normally do - but I had to play the song in my head to keep up with the changes as I could not hear any of my cues; as such, I made a few minor mistakes. To make matters worse, their previous bassist showed up; this threw me off a little bit. He was drunk and still a bit sore from being sacked, it seems, and gave a few backhanded compliments ("you were ok", "you did ok but it missed the magic touch I brought to the band") and said some less pleasant things. But he mellowed and became a little less dickish after a bit. He was a little loud in his criticism of the next band, too. He was booted because he did not want to come to practice (he lived about 2 hours away, so I understand) but I would not be surprised if there were other reasons involved. The crowd were great and the other bands were really full of compliments, which meant a lot. It was a good night - we, as grindcore, are too punk for metal but too metal for punk, but we mostly fit in with the other two bands on the bill: a punk/hardcore/screamo group and a punk/funk/fusion band. Success, I think. I would gladly join them again for other gigs if they cannot find a bassist in time. A huge thanks to all here for tips and tricks - these will come in handy for learning tracks (even at a more leisurely pace) that I can use later. I played my 5-string P with flats (and a chrome pickup cover!) through my DHA VT-1 pedal cranked for max distortion that went into a Boss DI and then into the house's backline, which was a Hughes and Kettner 100w combo. [/quote] Nicely done, by the sound of it - you enjoyed it, everyone else without an agenda enjoyed it, so win/win! I bet you get more gigs out of it, either with the same band or others.

I bet it just needs the pots cleaning! :-) Good combo for someone there.

Ah-hah.. this makes more clarity in your other thread.. probably the original pot was included when you bought it as some folks like to have the original (albeit knackered!) parts, even though it's unusable. Some folks will pay more for a thing if it still has the box, even though it's of no practical value. Unless it was a serious collectors piece, I really wouldn't be bothered myself. I'd be wanting the one with the working volume pot. Parallel to this, I'm sure I saw some mad Ebay item a while back of someone selling an original 1960s Fender P pot for some insane amount of money. Just WHY???