4 Strings

Agreement with all the above with an enthusiastic +1 etc. What I love about his playing is that they are actual bass lines, very little just playing the root etc, and, invariably, those lines are hummable. In addition their influence on the actual song was crucial, they made the sound and the song. I feel sure the timing for the orchestral stabs in Diana Ross's version of Aint No Mountain were initiated by the bass. I used to practice to Jamerson's playing when I was young without knowing it was anyone in particular, just the quality of playing I aspired to. I feel so sad he's not still around, like many I feel true affection for the man and yet all I know of him (apart from the stories in the film) is his playing. Certainly one of my biggest influences and playing I know I could never properly mimic. What I would have given to have shaken his hand.

My mind was expanded when I saw Victor Wooten at the Digital Village thing, what a musician, what timing and what a fella. I have always thought Stanley Clarke to be the 'master' though. Perhaps the best electric bass player ever. Having seen him play with his band of youngsters at Ronnie Scotts last week I realise he's not on the same planet as the rest of us, it was, I think, one of the strongest and moving musical experience I have ever had. I would have been disappointed if he played only the first third of the set on electric bass and the rest with his upright, however much I enjoy the sound of an upright and watching it being played well. This is exactly what he did and I am blown away. He is an absolute master of that instrument, I don't just mean in terms of technique, speed (even slapping!) but so musical, such feeling and beauty. It was truly wonderful. As an aside, his right hand and fingers are incredibly strong, even thumping the strings he makes it look like a graceful tickling of the the strings. Had to tell someone!

[quote name='OldGit' post='901153' date='Jul 21 2010, 06:50 PM']I agree, a tastefully applied small amount of slap can add to a tune, too much can spoil it. IMHO Mark King is in a different department totally as he is playing the instrument as tuned percussion.[/quote] Yes, he does have that skill, that's not all he does though, is his finger playing and musicality underestimated?

[quote name='stingrayPete1977' post='900472' date='Jul 20 2010, 08:59 PM']OK lets put it another way then,Does anyone use Rotos on anything designed in the last 50 years!?[/quote] Yup, my Jaydee sings with them, hifi tones abound. Also use them on he Stingray.

Isn't someone going to say 'if you want it to sound like a Jazz bass you'll need to use similar components and so use ceramic'? The OP has a good question, like you I know nothing about this sort of thing. How about asking the supplier people to see why they offer the choice and what they recommend for your use? Capacitors are certainly important to hi-fi enthusiasts, how important they are for guitars, others are already advising.

Yeah, Roto-freak here, Swing Bass 35s for many, many years. Always had a satisfactory sound and life, tried some others (find it an expensive exercise!) but gone back to Swing Bass every time. I would like to try out different strings but end up chickening out due to the cost. However, I am very happy with Swing Bass and feel no great need to change.

Definitely believe effort to entertain is required, but I always really enjoy seeing musicians 'lost' in their art while playing. Norman W-R being a nice example. I will travel to see musicians like him, to see facial contortions and almost involuntary actions. Players being into the music invites me to take it seriously and be into it too. On the plonker side are, for me, those who love the way they look more than the way they play and the clothes and posing show a wafer thin character. Having said that I do love watching Pete Townshend, Jimi Hendrix etc - but somehow the posing/show is integral with what's being played, not just standing with a 'look' (and they can play a bit too!). I prefer even the most plonkerish posing to staring at feet.

Valves in the pre-amp don't need to have their bias reset when changed, and they are a push fit. If you're really worried, just carry a spare (£7-8?) as you would a fuse. Less likely to blow than a fuse which is there to protect it. In general valves have more tolerance than their oppo transistor, its just that being made of glass they have a bad reputation.

Trace Elliot copy but in a different colour isn't it?

Its nice that the Hartke 2500, at £209, is listed as a 'similar product'!

Never for live bass, realy would feel frustrated by it. Almost always for recording, but always slight and just use the simple compressor n the amp (HA3500). Recording is quite different to live, vocals and some guitar get slightly compressed if I'm in charge for the typical 'keep the levels up' reasons and control peaks. If I can hear it compressing I turn it down.

[quote name='yorick' post='888293' date='Jul 7 2010, 12:24 PM']These should do you a reat.... No nned to change the strap buttons!!! [url="http://www.stringsdirect.co.uk/products/823-jim_dunlop_lok_strap"]http://www.stringsdirect.co.uk/products/82...unlop_lok_strap[/url][/quote] The 'Planet Lock Ends' look perfect. Wonder how they operate in action.

[quote name='skychaserhigh' post='880535' date='Jun 29 2010, 12:08 AM']I had one of these cables and the same thing happened to mine after only a few months. Eventually the silent neutrik connector packed in too. Load of crap and waste of money in my opinion. Dave.[/quote] I've just got into the 'Silent' connectors, apparently tested for umpteen million uses, but one of mine makes a loud 'bang' when connected. Others are still good. Any other experiences with these?

[quote name='escholl' post='878150' date='Jun 26 2010, 02:08 PM']You're welcome! If it's not too late, you may want to just quickly cut the Neutrik connectors off the ends -- they will be fine, and it's always good to have some spares. [/quote] Amen bro', expensive and worth saving.

Israel uses fabulous musicians, the bass players are awesome, as are their basses - 6 strings being usual. Seen him live once, the whole thing was such fun, like a breath of fresh air. Its not a playing type that comes naturally to me, I can copy but not create easily in that field. To be honest, I can only listen for a limited time too, but its wonderful stuff. Good message too.

Another is Ruach at [url="http://www.ruachbassguitars.co.uk/"]http://www.ruachbassguitars.co.uk/[/url] They have a huge table of different woods and combinations along with various shapes etc. I'm sure they'll make whatever you want, reasonable too. A friend has one, its an absolute work of art in the flesh, beautiful.

For what its worth I use a 2.5XL as my base cab (pun intended!) for everything (home practice, rehearsal, gigs) and, if its a biggish place I put a 115XL under it. Although I don't really like the sound of the 115 on its own terribly much, the combination seems to tighten up the mids, maybe by giving the little 210 less to do, and gives a nice, even spread to the sound, ie lots of low end 'woomph' but keeping definition and clarity (I use a Hartke 350 head set to flat). Makes the sound effortless. No idea why anyone would frown on mixing cabs like this, standard practice I thought. Also don't worry too much about ratings unless you're running your amp flat out and so might threaten the lowest rated cab. Your weak cab will start to complain by losing its real sound, then distorting if its taking too much. Just turn down a bit and all will be restored ... or add another cab! Even in the biggest places I never get beyond half on the amp, normally gets DI'd at larger venues anyway.

"Also, it leaves much less space for resting on your laurels- you're only as good as your next show/record!" I though I was only as good as my last show/record. Wow, my next one will be fabulous so I must be brilliant!

Valves can last for years and years, some outlasting many transistors. Bit like wooden windows, looked after properly they can outlast their modern, plastic equivalent by several times. HOWEVER! They are, of course, made of glass. You don't need to wear gloves as they don't reach the heat of the quartz envelopes of some car headlamps (where the extreme heat burns the grease from your fingermarks and cracks the quartz) and so, as has been mentioned, perfectly safe to handle. Also, they are large for electronic components and are normally just a push fit into their sockets and here is where they can be unreliable if things get knocked around. Many have spring wire clips to keep them in place, but there are still unsoldered contacts. Your valve will require replacement at some stage in its life. As they are pretty cheap, if you want to maintain reliability pop in a new one every 5 years or so before it goes microphonic etc. I have a similar situation to yours in that my Hartke has one valve in the pre-amp, never keep a spare for mine, doesn't mean I'll not get caught out but I don't expect to be (I DO carry spare fuses!). If the valve goes mid-performance I'll not have time to change it anyway - can just turn up the transistor preamp anyway. Just as an anecdote, my wife's dad made a 2x12 valve combo for his band in the late 50s (as they did back then) and it had a hard life of regular use for many years (handling two guitars and the vocals mike!). It then sat in his shed since the late 60s, nice and damp (mouldy speaker cloth etc). We dug it out a few weeks back but started up first time and sounded great (despite very noisy pots etc). Got used by my lad's band for guitar but, not surprisingly, packed up. Not a valve but a capacitor! Valves are all original, filthy dirty, when I approached someone to repair it he made no suggestion of replacing the valves, will put the original ones back in. Your amp will come with instructions, just keep to them. The amp Class is nothing to do with quality of components, just the way it operates electronically. Class A amplifies the entire sound wave (or cycle) (like an ac power supply) but are notoriously inefficient (~20% of the electrical energy is turned to sound) and so are power hungry and so get hot. They're not necessarily the best, just simple. The Old amp in the Father In Law's combo is Class B, or Push-Pull, where it amplifies one side of the wave and the other as a pair (rather like 2 dc supplies added together). Its more efficient (~50%) but things get awkward when the two halves are re-joined as they need to be linear - hence the amps name 'Linear'!). Class D are very complicated but operate with high efficiency and so are suitable for the examples given in a previous post, ie cars and loud hailers, where the power supplies are limited. With regard to changing valves because they are made in China or Russia, well, that's up to individual choice, but I would suggest many people will hear no difference (especially in a band mix) but there are plenty of sites with all sorts of info. Most of these will tell you what slight differences in sound to expect and so you might choose a valve which happens to be made in China for its middly sound, for example. If you find a make that proves to be poor in reliability or to have a particular sonic character, then let us know.

Used to, many years ago, when I first started, not any more though. I must say it would be great to look back on, especially with the fellas I played with but I have enough trouble getting rehearsed for the next one! Memory certainly slips, I've seen videos of me playing gigs I have no memory of whatsoever. 800 is pretty impressive, I think even with a list of them, I'd not remember the large proportion of them. Certainly lots of stories though, I've always thought being in a band is as much about decrepit vans, weird people, general larking about etc as about the music.

[quote name='OldGit' post='883065' date='Jul 1 2010, 03:22 PM']Now that's a different market. Selling your band to agents you'll need a offline marketing such as professionally produced paper brochures and DVD's with professional photography, video and sound samples.[/quote] And a 'showcase' which is how (I understand) agents find their acts.

Just a thought on advertising, aren't agents worth using? Most people who book function bands just go to an agent and choose want they want, rather than trawl through the internet hoping to find something.

Wonderful, although some of the covers are a little uncomfortable hearing Babbits take on some of those classics is great, also the Funk Brothers only tracks are pure gold. Many thanks!

Sounds to me that you need to get to try some 410 type cabinets so you can really know what to expect. When I saw your first post my immediate thought was 'try it out and see if it suits you' rather than our various experiences and opinions. For me its 10s always, I have a ported 15 if its a big place and this gives a little more depth (my old Trace 1518 was super sub - gone now - sniff), I find using just 15s to be rather hollow sounding, but that's me. Having tried some cabs with 10s you might find you don't like it after all and can really sleep well!