4 Strings

[quote name='stingrayPete1977' timestamp='1341162688' post='1714546'] Ignore the talk about pole pieces its utter rubbish, If they had covered poles it would never of even been a theory! That thread has been done many times and we found loads of basses with strings that dont run over the pups pole pieces and guitars too, Put it this way does a Fender Strat drop in volume if you bend the strings well out of any pole pieces when playing a solo? I think you could have the whole pickup too close to the strings which sounds like your going to have even less chance of hearing the G string but hear me out, if you lower the pup into the body quite a bit on the E side and lower the G end level to start with then plug it in and try it to see what the overall sound is like then you will need to boost your amp volume wise a little from where it was to compensate and the G will probably be too weak, keep it plugged in use a flat EQ, raise the G end up until it gives a bit more clarity and an even output, I have done this at home before in isolation and actually had to reduce the pup back on the G end a bit at the next rehersal as it was actually over powering on the G&D strings, crazy I know As for the EQ I would take the 2 EQ over a 3 any day, Im saving up for a Classic Ray5 as we speak [/quote] There is wisdom and truth in this. I found that the pup magnet are very strong and if set too close to the string a sort of slightly phased sound is heard and this is a weaker sound. I set mine up in a similar way, set the G as close without this effect and then balance the E side accordingly. This results in quite a gap from the pup to the string but a balanced output. I don't suffer from a weak G.

[quote name='chris_b' timestamp='1341048663' post='1713144'] To put this in context, I gather that they were expected to nail it within 3 takes on a record session and 1 or 2 takes on a film session. Any more than that and you weren't called again. No pressure then! [/quote] Pros.

Maybe we need a class system for members of BC which is a function of the the number of basses owned in reverse order and hours played.

[quote name='KingBollock' timestamp='1341015549' post='1712985'] I have to confess that besides seeing her name appear on BassChat occasionally, I have been largely unaware of her. However, I know what I shall be trying tomorrow. I don't wanna be that plodding UK player no more! Anyone know where I might start to go about learning some of that chordal stuff? Unfortunately I learned all my walking stuff from a beginner's Blues book when I first started and, being a metal player, mostly, never really go around to trying to expend on it. Also, my theory knowledge is woeful to non-existent. P.S. Even is she isn't really a "proper" Bass player... [/quote] I think this is a fundemental issue. Carol was brought up on jazz, as were a lot of musicians of the time (esp. Jamerson!) and you can see she knows a bit. Like you, I'm envious. Many musicians nowadays are brought up on pop/rock etc and so do not have that background. Consider tv theme tunes, back until even the 80s most were jazz based (especially the comedies - even Corrie is a fab piece!) but nowadays we get Oasis etc. Its liberating that those without training etc can make worthy music but not surprising that many do not have any theory. Carol is old school and, in my opinion, all the better for it, there's definitely nothing wrong with you wanting to know more and please be encouraged to go and learn. (Most musicians end up picking up and having to know a certain amount of theory along the way if they start to get serious with their recording/composition etc and need to communicate to other musicians)

We work on £100 each for function gigs. Can't give up the day job on that, buys gear though.

[quote name='steve-soar' timestamp='1341006997' post='1712896'] Shut the f*** up, you silly ones, she is one of the greatest bass guitarists, ever. I'd like to see your back catalogues. [/quote] Yeah, but isn't that the funny thing?

I must admit that despite her obvious talent and glittering career I find it difficult to get past that aspect whenever I see her name.

[quote name='Lozz196' timestamp='1340896641' post='1711221'] From lead playing, I think I`d spot Slash pretty quickly by his tone. [/quote] Really? Sounds like all the others to me

[quote name='WHUFC BASS' timestamp='1340960135' post='1711966'] Exactly - palm muting = Billy Bragg ?? Feedback - Gang of Four ???? !!!!!! Jesus wept. [/quote] Just an example of feedback, could have been any one of hundreds of bands.

Anybody inspired by the Stairway to Heaven vid?

[quote name='KiOgon' timestamp='1340962472' post='1712011'] You could say that Muff on bass [/quote] Ha! Best post for a long while!

Is this in a similar vein? [media]http://youtu.be/BFaT69CyyKU[/media]

In fact, the second vid has just inspired me to put on '77'. I'm not worrying about the government at the moment.

I know this is a crude and bombastic personal view but the first vid is similar to me to those of the multi-string tapping we see. Mostly done alone. I know someone will post a vid of a band with someone playing like this but, mostly I feel 'needs to get out more' rather than inspired. The concentration on Tina's face and the almost involuntary movement's of her body are not there because of the technical wonder she is performing but commitment to the responsibility to maintain the groove. Duck Dunn was the same and also why I find Norman W-R so compelling. This inspires me no end and I love to see it.

[quote name='bartelby' timestamp='1340917088' post='1711620'] I prefer Einstürzende Neubauten's take on it: [/quote] Presumably the pneumatic drill is used as a bass. Nice, sort of Lemmy approach.

[quote name='BRANCINI' timestamp='1340915934' post='1711604'] Aint seen that for years, seems to be a lot less gear than I remember. Like I would have sworn that there was a whole Wem Festival PA on there as well. [/quote] Yup, there it is, those two columns on each side at the back!

[quote name='Lozz196' timestamp='1340913933' post='1711564'] Update to my previous threads - have come to the conclusion that I`m only going to have 2 basses, a Precision for one band, and a Stingray for the other. Any more than that is great, but in reality, I`m not going to play the backups unless I`m very unlucky, so someone else may as well benefit from them. [/quote] Amen to this, I could exactly this, P with flats for Motown and 'Ray for everything else. (Have used the Stingray for Motown perfectly well too!). Trouble is, not sure if I'm brave enough to sell the others if I don't need to, mainly because my two boys have their eyes on inheritance basses!

You certainly get some good gigs, Jakebrownbass! Some nice counting in the guitar solo too. Its just the way it looks, but the keyboard player looks like he's the band receptionist tapping out some typing at a desk!

This is not a good time to sell basses, they are either going for a song or not selling (depending how much the seller needs to sell) A US Jazz went on ebay a week or so ago for £370, I've seen a Stingray go for £500. Really need to sell?

Now I'm stressed as I haven't booked a holiday yet

Of the 5 I own I use 1 90% of the time.

[quote name='Ben Jamin' timestamp='1340832668' post='1710387'] [size=6]2![/size] Warwick 5-string - active/coil-split - roundwounds - does everything 'modern' Sue Ryder - passive/back-up for when my back's broken - solely for the P-bass and flatwounds sound Sorted. Apart from... A Dingwall (intriguing) A proper vintage Fender (just because) A single-cut six-string (for self-indulgent guitar territory) A fretless (for staying in tune with the guitarist) A cricket-bat headless (for that 80s band I haven't joined yet but might do at some point in the future/epic mirror-posing) A short-scale (just for giggles) A Fodera (bling) A custom bass built to render the entire collection obsolete And so on and so forth [/quote] You are privileged.

Heh, nice one.

[quote name='discreet' timestamp='1340703261' post='1708209'] Haha great thanks, haven't seen this footage. *girlish scream* [/quote] Mimed

[quote name='Mr. Foxen' timestamp='1340791143' post='1709550'] The impedance on the pickups changes when you go from the input of a circuit to all the cable before and after the bypassed pedal and the amp input, impedance on a pickup determines how it responds. So if you have a pedal such as some Sansamps with high input impedance (which tends towards making them sound better, see the Zvex super hard on which is a high impedance buffer) and a buffer, your pickups are constantly at the same impedance if the effect is on or off, but if you 'true bypass' it you change the impedance changing the basic tone from your pickups. Additionally the switch won't be perfect and has its own impedance and such as well as not being shielded and making a pop when you switch, all of which can be avoided in a buffered circuit. Switching from active to passive will also change the impedance, as the active circuit is an impedance buffer itself, being active means you aren't subject to the variable of the impedance of external devices. Impedance issues are most noticeable with piezo pickups, which is why they usually come with an active preamp. [/quote] Right, hanging on by a thread here. Yes, I understand that switching a circuit in or out will change the impedance seen by the pickup and so changes its characteristics. So if you buffer it you change it to be equal to that for the effect electronics when in 'bypass'. (I also understand how a pup will 'see' only an active circuit and so what happens after the active circuit doesn't directly affect it, thanks for that.) But I don't see how going straight through is any worse than a longer lead (and any effect the switch has, which should be pretty minor). If you like the sound of your bass without the effect then surely this is the nearest to not having anything in the signal path even if the pup has a different characteristic when the effect is switched in? (sorry to divert the thread)