Sibob

It's been discussed plenty on here and decided against, the forum is a hefty size as it is and it would simply dilute the content IMO (it's a Bass site, not a all-emcompassing guitar/music/instrument site) There's nothing to stop you registering a domain and setting up your own forum though Si

Yeah, Yamahas haven't completely been off the Radar....but I am a bit of a Fender fan-boy lol, can't help it . My current plan is to try heavier strings on my Jazzes, 45-105s, as I've been using 40-100s for years. Specifically on the '73 I'm gonna try flats, to try and get some deeper thump as that tends to sound thinner than the '03 (On account of the bridge pickup placement I assume). We'll see Si

[quote name='algmusic' timestamp='1325459736' post='1483429'] The price of the bass is a crazy deal for the sound.. these era of basses are king [/quote] But that JV isn't a P/J?! lol The Eternal P/J looks nice, I got a lovely reply from Howard, so I'm gonna try fiddling with what I have first....then if that fails, I'll look into an actual P/J bass. Si

I also don't feel that it's chasing sales. Leo Fender got it right....first time...and when a player wants to retain that, but also asks for some more modern features, it's down to builders like Sheldon to provide that within the context of their brand I bet he had an inbox full of emails asking for a dingwall trad p-bass before he thought about doing one. It's called supply and demand Si

[quote name='mercuryl' timestamp='1325431960' post='1483066'] I have read the whole thread. In my view, the manufacturer could have created their own pick guard design but has deliberately virtually copied the Fender design. I think that is very poor, with no justification ..... other than chasing sales by riding on someone else's coat tails. [/quote] But catering to those players who want a Dingwall but also the aesthetics of a Fender doesn't work when you change the design. Dingwall have plenty of original designs and custom options that players can go for, if you're gonna put out a Fender Clone....do it well, which Sheldon no-doubt does. In any case, you play a Warwick Streamer....which is a ripped design from Spector....forced originality just for the sake of it will never take the place of proven good designs. Si

[quote name='mercuryl' timestamp='1325428897' post='1483034'] Why oh why oh why is the pick guard a rip off shape of the Fender version. Have people got no imagination? For heavens sake - if you are a bass maker, show some originality. [/quote] Try reading the rest of the thread....including Sheldon's response on this page!! I also noticed Dave Swift using it, looked cool and was a very supportive sound, which is what he's all about Si

Played a 'VIP' New Years Eve party over in Wantage....wasn't actually any VIP's but you know how they like to market these things. Getting paid 'bare paper' to play music with my friends, have my sizable buy-out paid for by the management, then see in the new year having a silly dance with said band members....love it Si

I'm gonna PM him too :-D haha Si

Its more a case of either utilising the '03 Jazz that I have....or swapping/selling it out for a P/J configured bass, I hate having basses that I don't use. My '71 Precision is just right, don't need to mess with that at all, tis perfect. To be be fair, my first port of call is to up the strings on both my jazzes to 45-105, I've been using 40-100 for years and years, but I have 45-105 on my P and I'm now a convert, thinking that will gain a little bit of phatness back on the jazzes. What I think will happen is that my '73 will become 'THE' Jazz, and the space that my '03 Jazz takes up will be swapped for a P/J inbetweener bass. But I'm all about passive....and I love my Fenders Si

I literally saw that thread as I posted this! Si

Oh you buggers!! Look at what I just posted below this topic in the same forum! Si

So....I own two jazzes that I don't really use too often, on account of my Precision being amazing and playing 90% of my gigs, not because the Jazzes aren't great. I've been thinking about gigs where I'm not sure where I'll sit in the band (dep gigs etc) where I'd quite like the choice of P and/or J. My Jazzes don't quite nail the P sound though (even with the S1 on my '03). So. I guess 3 options. 1 - Look out for a Fender Hotrod P, or possibly a Tony Franklin fretted (although I'd want a sunburst I think), and move my '03 Jazz on. 2 - Rout the '03 to accommodate a Precision pickup, probably wouldn't ruin what little value it has (what...£500?), I would then have what would essentially be a passive Reggie Hamilton bass. 3 - Do they do Jazz pickups which have a split coil....so basically a Precision pickup in a Jazz casing? Or are those just approximating the sound?....are they no substitute for a P? I'd quite like to pick up a late 70's P which has been routed with a J, so already modded, probably decent price etc....but they're all 10lbs + in weight. hmmmm suggestions? Thanks Si

I've heard that Mr WAL unfortunately passed away on Weds, I don't have any details other than news from a friend of a friend very close to him. A sad loss though Si

Bought a P-bass & a Barefaced Si

[quote name='silddx' timestamp='1323976087' post='1469484'] Yep, it's surely best to major in Lavatory Tissue Strategy and Production Management in today's economy . The violinists in one of my bands both studied at the RCM and make a very decent living and get gigs with household names and major tours. They teach, do sessions and play with orchestras and pop and rock bands, X Factor, etc. The sitarist I play with studied for years with a grand master in Berklee, she makes a good living and gets prestigious gigs, sessions and composing commissions, such as the Olympics, composing with Sir John Tavener, touring and writing with Courtney Pine, The Imagined Village, Cornershop ... Our drummer in Kit's band studied at Drumtech, he's young and makes a decent living playing lots of decent gigs and by teaching. I also work with artists who only did music at school. They make a good living with recording and performing careers as band founders and members. They all share the same qualities - they are all extremely good musicians and very talented, highly reliable, very articulate, and great people to be around. They also have great passion for music and are willing to play with a band for no money if they love the music. The OP can make this happen for him too if he shares these qualities, It's what you are, not how you do it that really seems to count. [/quote] I think this is down to their hard work, not what they studied, which I think is what you're getting at. I don't think any kind of music degree guarantees being a successful 'session' (ick hate that term) musician. What it does allow you to do is concentrate on your playing and hone your networking skills....no-one who hires you will be fussed by the piece of paper or the type of degree at the end, thats a bi-product of the work/networking you do during the course. So while I agree with the sentiment that technically a music degree is pointless, from the point of view that you might as well study something as a 'backup' because the actually award at the end is worthless.....doing that won't allow you the time to hone your craft like a music specific degree will. It is also true that very few players JUST play, you gotta teach, arrange, produce, manage, write....its all part of the game Good luck Si

Hi all As there really isn't any demos/youtube vids of the MD-2 being used with Bass, I decided to do a very basic (ie not changing any settings) comparison between the Boss ODB-3 & MD-2.The settings on both pedals are as close to each other as possible, and is what I use live on the MD-2.Please listen on decent speakers/headphones. For all three 8-bar riffs the sequence is: Clean -> ODB-3 -> MD-2 I was looking for a pedal that didn't necessarily give me angry metallic sounds, but just low end texture without sounding like a bee in a jar. I checked out the ODB-3 and really didn't like it, it kinda sounds alright on its own, a little hi-fi maybe, but live...just completely lost in the mix with no texture. The MD-2, although primarily a guitar pedal, was recommended to me by another member on here as well as my long-time guitarist. I was sceptical but live it absolutely kicks ass. Not too angry or 'metal', but nice low end texture and an even tone across the neck, unlike the ODB-3 which to my ears doesn't sound great at all in the high end. Bass is my 1971 Precision straight into a Focusrite Saffire 24 DSP, no sounds messed with in Logic, recorded as-is http://soundcloud.com/simonpoulton/bass-distortions http://www.youtube.com/watch?v=pimHiDdNl34&feature=youtu.be Cheers Si

It's a loop pedal, not on my amp. I don't even use it to drop FX in and out (like I do on my other board), it's literally just because I prefer going in and out of my pedal board at the same place Si

My '71 Precision, haven't used anything else since I got it 6months ago....even my '73 Jazz is starting to feel un-used (even though it goes to every gig lol). Si

[quote name='Ant' timestamp='1323537593' post='1464391'] Got myself a bef pro with a wired hot hand, need to get the wireless one ASAP! What's your bef set up like in that track? Sounds nice Also, where in your chain is it, still trying to figure out where to put mine [/quote] My signal chain is: Bass -> Pedal FX loop send -> TU-2 -> OC-2 - > CoPilot FX Orbit -> ME-50B -> Slicer -> BEF -> FX loop return -> Amp I'm only using the standard BEF so: Frequency - 9 o'clock Sweep Range - 10 o'clock Speed - 1 o'clock Still messing around with it though. Si 3