mike257

I won't go anywhere without an extra bass, I've had strings go on stage a couple of times (waits for 'bad technique' comments ), and since we're always in the van when we're gigging, it's no big deal to carry one about. It did used to be a pair of Stingrays, but I can pretend it's for different tones and versatility now I've got my Sandberg. Nobody will ever suspect that it's just for showing off

[quote name='OutToPlayJazz' post='253968' date='Aug 3 2008, 10:18 PM']That site you pointed Drew to has some lovely looking Peavey T40's! Quite fancy one of those [/quote] I'm thinking of selling mine, throw me a PM if you want a looky

As of yesterday, I'm the proud owner of Mr C's absolutely lovely Sandberg Cali JM4. A top bloke to deal with, and a fantastic bass in factory-fresh condition. I couldn't be more pleased with it. Cheers Jim!!

[quote name='et1058' post='242004' date='Jul 17 2008, 06:26 PM']I came on with the simple question of recommendations for the right studio, without mentioning any band. When somebody asks to hear us, i posted the links? I can't explain to you how many sh*t studio's there are out there. I thought to myself, I will ask ppl on the trusty basschat website for help? I don't need or want to promote my band. I just f*cken play mate, and Im happy with that. Im sorry for tryin to get some advice So NOBODY PLEASE, CLICK ON THE LINKS....OK?!?[/quote] I don't think any offence was meant mate.... I think he was pointing out that what you're doing isn't a big budget record label project, it's more to promote your band to a label - which might be wrong, but it's how he's perceived it. He doen't mean you're just coming on here to promote your band!! Did you get the chance to check out the studio I reccommended? John's a cracking engineer, and a good guy with it, he knows his shizzle!

And a Lakland?? When did this happen? I wish he'd just make his mind up, shamelessy aping him is getting really expensive

[quote name='OldGit' post='241332' date='Jul 16 2008, 10:44 PM']You know the Commitments were not a real band? They were a bunch of actors in a film.. That's not real life. It wasn't a documentary about a real band, like, say Spinal Tap for instance.[/quote] Most of the line-up from the film still tour as a band, a sessioneering mate of mine plays hammond for them!! EDIT: For the fact that I've just looked at their website, and it's only the drummer and the bassist left now. At least they've got the important ones then

If you want some decent recording doing in Liverpool, my good friend and ex-band mate John works out of Crash Studios in town, he's doing some very good sounding stuff these days. I've recorded with him on probably half a dozen occasions, with 3 different (and different sounding) bands, and always been more than pleased with the results. If you fancy a listen: [url="http://www.myspace.com/theidiotrate"]myspace.com/theidiotrate[/url] - My old band, i think the first three tracks are his work. [url="http://www.myspace.com/connectingflight"]myspace.com/connectingflight[/url] - John's band, also featuring my shoddy bass work If you want to get in touch with him, you can book in through Crash's main phonenumber on 0151 2360989!

used to run synth/sample parts with my old band, we started out with me triggering the sequencer on the keyboard, with L/R split to a headphone amp for the drummer and a DI box for the FOH. We eventually changed to burning the same L/R split to CD, and the drummer triggered it from a portable DVD player. That way, he's got a big bright visual readout of what he's triggering, and there's virtually no load time for track changes. Depends on your drummer being confident keeping the rest of you in with the click!

Loads of really interesting opinions here, I won't bother with the samaratins next time something's bugging me From my experience of originals bands, the most important factor that holds them together is the relationship between the band members, the mix of personalities. I'm currently guitarist hunting for my new band, but the singer and drummer I'm working with are two of my closest friends. We knew each other from other bands, and as we all became available, making music together seemed the natural thing to do, as we enjoy each others company so much. Our drummer has only ever played metal, and nothing but metal, our singer has only sang his own songs and never someone elses, and I've never been the one doing the writing before, so we've all had to step outside of our comfort zones, and do something new and challenging, but it's been easy and natural because of our relationship. My worry now is finding a guitarist who will complement both the music and the balance of people in the group, and the deciding factor for all of us, far above technical ability, will be how they gel with us as people. So I guess the thing I'd do is find some musicians you connect with, who share your sense of humour, whatever, and make that the focus, and let the music sort itself out. I know our auditions will start off over a pint or two, not with guitars in hand!!

[quote name='Galilee' post='222276' date='Jun 19 2008, 04:23 PM']I would play drums for a rubbish hair-metal band.[/quote] Haha, I saw this thread title and was about to drop a Def Leppard joke, you're just too quick for me!!

I haven't got personal experience with them, but our rehearsal studio recently bought a couple of the 500w Warwick heads and they both gave up the ghost within a couple of months. That might be more to do with the ineptitude and ignorance of the bands that frequent the studio though, than the reliability of the heads. I suppose it's worth a quick web search to see if reliability is a big concern with them.

I can add my name to the list of occasional thumb-over-the-top merchants, although I'm more prone to it with guitar than bass. Generally not learning anything new, repetoire or technique, is my inner Homer Simpson manifesting itself. Oh, and my Squier Of Doom is STILL under my studio desk with the Wizards and the Badass on, but waiting for me to get the soldering iron out and finish the job!!!

Blimey, that was quick! You lot are flippin' ace, you know that?

Just out of interest, because the thought of building fancy switchy lighty boxes often occurs to me when I'm mucking about with my rig.... how simple is it to build one of these to sit in your rack, but make it footswitched, so it can be controlled from my board?

[quote name='Johnny Wishbone' post='217163' date='Jun 11 2008, 08:19 PM']The key to "that" sound though, is (I think) the use of opposing settings on the Q control (or modifying each tone circuit for the same effect) so that each pedal affects a slightly different range across the pedal's sweep. Mix the two together and you've got magic! [/quote] You mean I've got to buy [i]another[/i] Crybaby?? I need a bigger plank of wood for all these pedals

I've always fancied a play with their bass gear, the talk of wooly cabinets is a bit disheartening though. A guitarist I played with for years has an AD30 head, which is delicious, but when he ditched his Marshall cab and got the Orange one it became a total monster, their guitar cabs are some of the best I've heard. Both guitarists in my mates old band used Mesa Dual Recs with the Orange cabs and they sounded enoooooooooooormous!!

[quote name='Johnny Wishbone' post='216167' date='Jun 10 2008, 01:54 PM']Two modded Bass Crybaby's running one into the other...[/quote] Really? I always figured he had two 105Qs running because of his crazy three amp set-up. He's got one rig always on clean through an 8x10, then a whole extra head and 4x10 he adds in for his dirty tone, with a [b]third[/b] head and cab he kicks in for the monster filth. I thought those two Crybaby's were patched one for each dirty amp. Hell, i'm probably wrong though!! It happens a lot

[i]Real[/i] bass teachers seem very hard to come by, I think Steve summed it up pretty well there. In my brief dabbling with university education, I was sent for bass lessons, to a local guitar teacher of repute. He did own his own bass, but in the 6 weeks I stuck his lessons, not once did he discuss anything relating to rhythm, groove, or playing with a drummer (or other musicians generally). It was all technique and speed, basically lead guitar with 4 strings. Ironically, a few years later I replaced his son in a band, because, despite being a finger-tapping string-slapping virtuoso, he had no consideration for the place of bass within the song, and for locking his lines in with the drummer, and it just sounded a big mess. Chip off the old block, it seemed