fatback

[quote name='Bilbo' post='1050372' date='Dec 7 2010, 11:51 AM']Thunk (Bilbo's forehead hitting the desk.....)......[/quote] Certainly i mean to learn to bow, because it sounds amazing and as Gareth mentioned opens up a world of wonderful music to play. I'm just wondering about how good a training for intonation it is when it doesn't help you correct other than by guesswork. I imagine that in times past (or now if you're lucky) a learner might have had a teacher sitting at a piano, listening to the intonation of the bow and occasionally going 'ploink' to show what the pitch should really be, maybe or maybe not accompanied by a clip on the ear. Then the learner thinks 'oh right' and learning progresses. Practicing n my own, I don't have anyone to say 'that's pants intonation there my son, hark at this' etc. So instead, I try to check my intonation every now and again with the tuner on the bridge. Sometimes I check when i feel I'm out, and sometimes when i get to the end of a string crossing phrase and suspect my position has drifted (as it does). And sometimes I spot check just to catch myself out, especially in the lower positions. And I'm certain it's helping me, mostly because it's stopping me getting complacent and forcing me to listen there and then. It might be that using a bow with the tuner would be even better, but i'm finding it hard to see how the bow without a tuner (or a piano going ploink) can be all that helpful as ear training. And honestly, I'm not being lazy here. I've been doing everything exactly as even Bilbo and Endorka would want me to. Reading and all Just trying to be as efficient as possible and get things in the right order. As always, thanks to all. I can't imagine getting through this without the encouragement given so generously here

[quote name='Lenny B' post='1050195' date='Dec 7 2010, 09:12 AM']A couple of quick points to correct from the above; - if you're in the UK or a UK citizen, you dont need to do anything to copyright music - that happens automatically when it is recorded - and that includes notated, scribbled out or actually recorded to some device - there are international conventions that protect UK copyrights in other countries (and on the internet) - 'public domain' in relation to copyright means that the period of copyright has expired (50 yrs for a recording and 70 yrs after the composer's death for a song) and that the rights are now in the public domain (ie they don't belong to anyone) - it doesn't mean that it's simply 'out there' and released. I wrote these articles for Bass Guitar Magazine a while ago - they may be of use, but let me know if you've any questions. [url="http://basschat.co.uk/index.php?showtopic=2508&hl=music+business"]http://basschat.co.uk/index.php?showtopic=...=music+business[/url][/quote] Public Domain also means rights that have not been asserted. Hence the need to credit your copyright at all times. And yes, copyright is automatic in the UK (not in the States) but you need to be able to prove it was created by you as of a certain date. That's where the posting the recording to your self comes in. If you are a serious songwriter, it might be no harm to copyright in the US as well by registering with the Library of Congress. It's not too expensive, around $40 I think. Registering with PRS is a different thing; that's about performance royalties, not copyright ownership.

[quote name='flyfisher' post='1050096' date='Dec 7 2010, 12:21 AM']If the big media companies can't control copyright abuse with pockets as deep as theirs, what chance the man on the Clapham Omnibus? Ensuring you can prove it's your original material (as described above) is probably the best you can do in practice. At least then, if anyone makes it big with one of your songs, you can go after them with a claim for royalties. Otherwise, if it's on the web, it's practically public property these days.[/quote] Enforcement is all about whether the guy you chase has the money to make it worthwhile. If it's big, as flyfisher says, you can chase. But in any case, ownership has to be announced all the time. You can't afford to sue people who use your stuff, but by constantly proclaiming your ownership, if somebody wants to come along and use it for an ad or a movie, they'll have to recognise your ownership and pay. If you've let it go, or don't have proof you wrote it, all bets are off. And there's a big difference between the mechanical rights, ie the performance, and the copyright ie the song ownership. I presumed Beedster was talking mostly about the song ownership. That's the one that really matters for the songwriter in the end. btw Public availability isn't the same as public domain. Public domain is where copyright can't be established or has lapsed. Often 'can't be established' is because the originator isn't known or hasn't claimed the rights to their work and has let other people use it without protest or payment. It's why even 'free' use in a contract usually involves charging £1.

[quote name='icastle' post='1049995' date='Dec 6 2010, 10:54 PM']Provided the material is copyrighted it's protected. Problem is, how the hell do you enforce that protection when the material is possibly being misused on the other side of the world? I suspect that someone is going to have to have very deep pockets and be prepared to risk emptying them in legal fees. Would be far easier to not do it if the material is that valuable IMHO.[/quote] Very true. But enforcement is a different issue. Being ripped off by unauthorised use is bad, but losing your copyright because you haven't protested and made it clear it's yours, is much worse. You need to avoid letting people argue that the material is in the public domain.

Being a total noob to upright, I'm asking the obvious question. OK. Everybody says learn to bow. It's good for your intonation. But - 1. Alright, bowing reveals the note better, but it doesn't tell you how right it is. So I get to hear my poor intonation, if that's what it is, more clearly. Is this helpful? 2. A clip on tuner helps me monitor my intonation and fix it. Better than a bow? 3. I don't bow my unlined fretless bass guitar, and my intonation is ok. I know from recording. And it's moving about relative to my hand a lot more than the db is. So please tell me why I should give lots of precious practice time, which I need to get my reading together etc, on bowing, when a tuner is what I really need (and have). <climbs in bunker> In fact, I'd love to learn to bow, but I'm trying to prioritise. So words of wisdom, please Oops, think I've put this in the wrong place. Sorry.

[quote name='Beedster' post='1049956' date='Dec 6 2010, 10:22 PM']Can anyone update me on the state of play regarding intellectual property and recorded music. I'm working with a singer songwriter who I think has been given some poor advice in this respect by his agent/manager. Specifically, if you post an original song on the web, what rights do you have if another musician uses it, and how would these rights be enforced? Thanks Chris[/quote] If you can prove the song is yours and you've asserted your rights by not knowingly allowing other people to use it for free, nobody can use your stuff. The old trick of mailing yourself the recorded tune by registered post and not opening it works well. Being able to enforce your copyright is another question altogether. Your main job though is to keep the copyright ownership demonstrable and explicit. It's the implied permission to let other people use your stuff, by not insisting on permissions and contracts, that causes most problems.

[quote name='LawrenceH' post='1049337' date='Dec 6 2010, 02:38 PM']Yep, as a sound engineer loads of times. Amazing the number of hotels, pubs, clubs etc where you get dodgy sockets. Be warned though, I've also had faulty RCDs where the RCD trips on 'healthy' scokets so get a decent one. You can buy multiway extension reels with an RCD built in, very useful.[/quote] Are the mo I use a surge protector. Does an RCD do that job as well or is there a combined gizmo? Hope I'm not too far away from the OP here.

[quote name='apa' post='1048867' date='Dec 5 2010, 11:21 PM']Any one would think you're trying to sell it A[/quote] No! But I got it (thx to OHM) a while back, and I'm starting to like it more and more. I have a thing about old jap stuff tho

[quote name='apa' post='1048691' date='Dec 5 2010, 08:33 PM']Cool. I suppose pups are replacable and it is a looker. Do like that 'Burns' Style roll top head ;-) A[/quote] Slotted brass bridge too. No need for an upgrade there

[quote name='apa' post='1048560' date='Dec 5 2010, 07:01 PM']Oooohhh Im liking the look of a thunder :-) but not sure about the P pups but thats going high on the list. A[/quote] I had my doubts about the pups until I started putting it passive through a sadowsky pre, and it's a different beast. Mwah by the bucket, and quite aggressive in a pleasing way once I got the rounds off and stuck some heavy elixirs on. Very high output from the standard pups on this one anyhow. Never goes out of tune either

Maybe you can find an old Westone Thunder. They come in unlined fretless and have a jazz-ish neck. Actives aren't up to much, but switched to passive with a good outboard pre sounds the biz and plays beautifully.

Anyone actually had an RCD trip? I've never used one, but i'm starting to think I should.

Pino for me Even if just for this one job. Oops can't remember how to embed. It's Chicken Grease yeah

[quote name='Dizzy_G' post='1047826' date='Dec 4 2010, 10:27 PM']Depending on your PC and sound card you may get low latency, clicking and distortion. I had this and overcame it by using ASIO4ALL driver for the sound card. It bypasses all the internal junk and reduces latency to about 3-4ms. When using a PC I use Bass -> Tascam MP-TB-1 -> Line In on PC -> Guitar Rig & WMP[/quote] +1 on ASIO4ALL if you want to record along with playback in Guitar pro. Or use a soundcard with ASIO drivers like the M-Audio. But you don't need any of that just for playalong.

Sure. I used to do this all the time. You take a stereo minijack out from your PC's sound card and into a pair of phono connectors on your amp (try the aux in). You can buy the cable in most electrical shops. Your bass goes into your soundcard via a Jack to minijack adapter. You might have to hunt about a bit for one, but the bigger electrical / audio places have them. An active bass will give you enough level; a passive might need a little preamp boost. You use your PC sound card software to control the volume. Keep the bass low to protect the speakers and away ya go Play CDs through your PC rather than your CD player. If you want better sound quality from the PC get a second hand PCI sound card like the audio delta 4040. £40 ish. Brilliant sound.

Ron Carter on bass for Herbie Hancock - 'A quick sketch.' The much overused 'awesome' fits perfectly Can't find a youtube tho, sorry

[quote name='bassatnight' post='1045179' date='Dec 2 2010, 03:06 PM']Appreciate this is an old thread but I have to say the Badass is very overpriced in my opinion. They retail over here at a hundred new, they are changing hands at upwards of £60 on E-Bay! The Gotoh is a real all rounder and a tidier fit in Fenders and less than half the cost of a Badass![/quote] Anybody tried these cheapo stellahs? [url="http://cgi.ebay.co.uk/Stellah-BB-02-Hard-Tail-Bass-Guitar-Bridge-New-/390121572507"]Stellah[/url]

[quote name='ras52' post='1044334' date='Dec 1 2010, 08:57 PM']Thanks for the input folks. I tried a Cort and liked it a lot - even tho' it was active, and the guy in the shop couldn't tell me what the switch did :-O The styling's a bit too extreme for my liking though. Anyway, I was leaning towards the Squier when this BB350F popped up: [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=270672594776"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...em=270672594776[/url] which I snapped up after a couple of Qs to the seller. It's got roundwounds on it at the moment, so now I move on to the which-flatwounds? dilemma...[/quote] Nice one. Great value. Why not try Elixir coated? Kind to the board, but plenty mwah

Isn't that what strings are for?

Gave up using a plugin tuner when I discovered the ones you clip onto the headstock. I tune before even plugging in. No more messing about muting. I never need to retune during a gig (good old yammy ), but if I want to check and can't be bothered clipping the tuner back on, I use harmonics.

Bassassin seems to be offering a Yamaha bb400s fretless from the 80s. I'd be all over it if I didn't have a beauty already oops - Just noticed you were after a p/j config and the 400s is a p.

[quote name='Moos3h' post='1039460' date='Nov 28 2010, 12:23 AM']Yeah, you're right - saw one in Vintage £ (sorry, '&') Rare for a fair wedge. They were cack though, right?[/quote] My first bass amp. Awful, awful, awful Nearly as bad as the grabber mk1 I was playing through it <puts tin hat on>