Sibob

If anyone has got Richard Bona's live album 'Bona Makes You Sweat', I'd like to ask for some help with a bass lick in track 7- Djombe/I Wish/Trains The lick is at 5:03 Thanks in advance! Si

There's a few feedback threads for tombboy, I've chosen this one because it has the biggest boobies! (?) Anyway, he bought a MOTU interface from me, very fast payment, patient and just generally a good 'ol boy! Cheers mate Si

The best I can make out of the main riff (at a very quick listen) is something like: G---------------------------------------------- D--------------------------------------4-6---- A--------------0-4-6-------------4-6--------- Eb-0-0--4-5----------0--0-0-0--------------- Probably wrong, but the vid is dodge sound quality. There's a guy on youtube doing a video of it, but again, poir sound quality means you can't quite hear whats going on......a testament to 'slap' technique in general perhaps? Only joking! Si

The general rule of thumb is that a refinish halves the value of a 'vintage' bass/guitar Si

LOADS of updates some FSOF shows! & July. - Dec. 'Re:Cover' shows Si

huh!? Won't it just fret and buzz that note once you start getting higher up the fret board? seeing as the action has to be lower on a fretless. Go listen to Baghiti Khumalo on Graceland, brother don't need no muvfuggin fret to slap on a fretless! innit Si

[quote name='mcgraham' post='494928' date='May 22 2009, 10:07 AM']Depends on what you want the sound to be! For what it's worth I spent ages deciding what to put in my Geddy, and I eventually bought a set of DiMarzio Model J's over the Ultra J's. Why? I wanted something with a fantastic beefy tone as it's base tone, no eqing required. Something even enough to sound full, but something powerful enough to cut through a mix. The DiMarzio Model J's deliver that in spades. Oodles of usable tones from those bad boys. Ridiculously good price for what they offer. Mark[/quote] Were you finding that you had to EQ the model J's less than the Ultrajazzes then? I know we're probably using different amps and basses, but I find that I need very little EQ on the Ultra's, plug in, sound phat! Si

Depends what you want it for! I think I'd probably stay away from the Affinity & Standards, if you want a more modern, dirtier sound, get a VMJ/P (seymour duncan pickups have a higher output). But if you're after a smoother tone with growl, go for the CV's. I recently picked up a Squier Deluxe Jazz 5 on here, and it's a ridiculous amount of bass for the money I paid! If I was gonna buy one of the above now, just for kicks, I'd get a classic vibe! Si

As far as I'm aware, EMG's are the only 'active pickups' on your list!? By that I mean, they require a battery without a preamp, everything else listed here is a passive pickup! My vote goes for the Dimarzio Ultrajazzes, high output...they roar for passives. Round, growly, loud. and they're humbucking! Lovely! I'd also give a +1 for staying away from Bartolinis if you're running them passively, severely underpowered without a preamp. Si

Just relating back to a couple of earlier points, I bent the ear of a music business accountant friend of mine with regards to Advances and how record companies account for them, this is (a slightly reduced version) of what he said: "[i]As far as I am concerned record companies treat advances as 'non-recoupable' which means that they cannot claw back the monies from artists in the way you describe[/i]" (paying out of your own pocket)... "[i]At no stage do the record company attempt to get this back from the artist. Essentially the balance remains as long as the artist fails to take it to a positive figure"...[/i] "[i]For the record company the expenses are generally written off unless they know they will recoup in which case they form part of WIP (work in progress). This is a different process to the relationship between record company and artist whereby any negative balance will remain as long as the relationship remains or the artist manages to recoup the balance." [/i] and probably most importantly: "[i]The only way an artist would ever repay an advance is if in reality it was a loan, not an advance. No music lawyer would ever let his artist sign a contract whereby advances were repayable if the project failed. The advance is the record companies risk, not the artist[/i]" I know this is just one professionals view of it, and I still stand by the statement that 'all contracts are different', but there are lines lol!. And I don't want this to seem like I'm trying to prove a point at all, this thread seems like it could be a useful resource to people, so thought I'd continue to add to the information available! Si