essexbasscat

I honestly don't know where to start with this problem. Anyone out there have any ideas ? even if people come along and end up saying don't bother for x,y, z reasons, it'll be helpful I'm not in a hurry with this one, but rather curious about twisted necks, as I've never seen it discussed at length before Thanks again

[quote name='discreet' timestamp='1395757674' post='2405852'] Steve Wright is a monumental bell-end... [/quote]

Hi there One for the luthiers I guess. How do you go about taking the longitudinal twist out of a neck ? I have one guitar and one bass that have twisted necks and wouldn't mind having a go at un-twisting them, if it's possible to do in the average home. I read a short while ago about a BC member that took a bass to a luthier who untwisted a neck, with very pleasing results, so it appears it can be done. Anyone have any ideas on this one ? Thanks BC

Agreed with Fionn about learning the theory. Once you get started on that, a lot of things you've picked up in the past from playing by ear will start to make sense in a greater context. You may find the musical world opening up for you as a result, with opportunities to play with all sorts of bands and musicians, in many different styles. After all, the bass, guitar, piccolo, clarinet, piano etc are all mechanisms for expressing musical ideas. Of course, it's a two way street, as the instrument you're playing will inspire ideas by the sound it makes and the method of playing it. i.e. a guitar will allow a chord to be expressed in one way by the layout of the instrument, whereas a piano will allow different chord structures due to it's layout.

[quote name='dannybuoy' timestamp='1395442162' post='2402653'] Went in the post today for you - sod's law dictates the postie will try to deliver it while you are out picking up the other one! [/quote] [i]Of course ![/i]

[url="http://youtu.be/LlvUepMa31o"]http://youtu.be/LlvUepMa31o[/url]

[quote name='Mark_88MPH' timestamp='1395435054' post='2402562'] Thanks everyone, Essex is this the one you meant? [url="http://www.amazon.co.uk/gp/aw/d/B006QUGBVK"]http://www.amazon.co...aw/d/B006QUGBVK[/url] Or the British one I linked in the OP? [/quote] Yes, that's the one. Apparently (again, on behalf of the band's guitarist) the Marshall pedal is a different one. He wasn't as impressed with it as the one linked above, but that's his opinion. I haven't heard that one myself yet. I'll be hearing the American one pretty soon, with thanks to Dannybuoy Edit; Aha ! just checked the link at the OP - I guess that's the Marshall jobbie ? oops, I did it again. Ah well, plenty more where that c0ck up came from

Band guitarist to me about the british sound (Vox AC30 emulator) pedal; "Don't even think about it, just buy it. It really is that good". He plugged his Tele into it and played it. I'm collecting mine from the post office in the morning.

What other instruments are playing in that frequency range above 200hz where you lose your sound ? guitars doing barre chords ? keyboards ? is there overload around those frequencies ?

If this keeps going we'll end up having an Essex bass bash ! Welcome !

Lysdexia did something similar, but with class

[quote name='BigRedX' timestamp='1393179785' post='2377047'] Entirely subjective. Although judging from the number of posters stating that they like the sound of the low strings played high up your opinion is most definitely in the minority. Personally I choose depending on what sounds best for the song at that moment in time in the arrangement. Most of the time I will favour playing high up on the lower strings but there are moments when playing near the nut on the higher ones gives a more appropriate sound. It's all about using your ears to decide what sounds best and not being lazy and doing what your fingers find easiest. [/quote] +1.

Thanks for posting that phagor. While watching the clip, I got the impression that the 2x12 gave greater emphasis to the lower frequencies, but wasn't sure if that was the recording or something else. The discussion at the end mentioned the same thing, so there would seem to be a difference between the two set ups, at least with that amp anyway. As you say, in the end, it will probably be down to trying them out.

Has anyone tried this ? Just curious about the Berg CN cabs really. Do 2 x CN 1 x 12 sound any different to one CN 2 x 12 ? If they do sound different, can anyone comment on the differences they found, along with their preferances ? Of course, the amp and bass used for testing do make a difference, but assuming the comparison was made using the same amp ? Do different amps influence the outcome ? Curious really, as a new cab is definately on the hit list this year Thanks all

Ramble On - Led Zepplin, Dreamer by Supertramp and the whole of Ziggy Stardust (like that's ever going to happen)

issing letters on y keyboard has always been a roble . y friends think 'm taking the iss

Also have a think about the neck and how far it extends to the left of your trunk. The necks on some Warwicks (and Westones i.e. the old Thunder III) can extend further to the left than other instruments, such as a Fender P. The consequence is increased reach (and length of lever) for the fretting arm / hand. Just something to consider.

I borrowed one of these for about a week around 1973 (ish). Holds the crown as just about the most impossible body shape to play in the seated position I've ever come across. Had to constantly hold the neck up while the back end relentlessly drove toward the right (as the slope travelled across the thigh). I gave up, having found the bass unplayable. Couldn't afford a strap then. Ah, the good old days ....

I'll give that a whirl and see how we go Cheers Icastle

Hi all I used the search engine to find a post I looked at last night, but the search engine didn't find it. I've now manually scrolled back through 26 pages and found the thread. Just to try it out, I entered the exact thread title into the search engine, using capitals where they appear in the thread title and any additional marks, commas etc. Guess what ? came back as no result, despite the thread being the very last thing I looked at. Anyone else experienced this ?

Nowt wrong with that. As said above, the good vocals sell it, poor vocals could sink it like an anchor

Begin by just blowing into the hole (as you would blow into a milk bottle to produce a note) with the aim of producing long notes of consistant volume and quality. Practice this until a consistent note can be produced when required. Once that is acheived, attach the other part of the instrument and practice until notes can be produced to the same consistancy. Understanding of the musical scale will help with pitch recognition and the art of producing the correct note when required. Knowing the scale and understanding music theory will help with visualising the note in the mind before aiming to produce it, always a bonus with wind instruments. Progress with wind instruments does go much quicker though if there's someone more experienced playing the same intrument. They'll provide real time examples of how it's done, answer questions (hopefully) and inspire progress. Hope that helps

A short while ago, I posted a request for control knobs for my P bass. Mick got in touch and sent me one all the way from Ireland. He even declined anything in payment for the knob or the postage. A credit to the community is our Mick Thanks once again Mick, you're welcome for a tea at mine anytime.

Dave was kind enough to spend a few hours showing me around the digital desk I'd just bought from him (top man, thank you for the months of book reading you saved me there Dave). From time to time on BC, topics come up around the subject of PA and mixing. I'll be watching when Dave contributes something to those discussions, he really does know what he's talking about. After spending time with Dave, I have no qualms about recommending him to anyone on BC. Deal with confidence here. Thanks for a great afternoon Dave Tom