essexbasscat

Another influence at the time was teenage cult identity. By that I mean the difference between mods and rockers i.e. I belong to this group, you belong to that group, usually identified by style of clothing, hairstyle etc. Teenage cults identity was a really strong influence then, unlike today. Teddy boys and greasers were still knocking about In the 70's ! So there were the rockers, then the disco types and the punks, as mentioned above. However, many rockers secretly went down the disco for a good time (and there were usually more girls in the discos too). This doesn't account for the whole answer to the OP's question, but it was definately a factor at the time. So disco sucks ? a theme of the other teenage cult. Then again, the 'disco sucks' campaign also gained strength as a result of the top of the pops tendancy to re-issue every song in history with a disco beat. That really did suck (not a term I like to use, but it fits here)

This is one of those things that definately deserves investigation by a health care professional, like a physiotherapist - get referred to one by your GP and don't take no for an answer. It may be related to your bass playing, but it could also just be your bass exposing a pre - existing issue. ignore this at your peril. Good wishes for a speedy recovery

[quote name='dlloyd' timestamp='1374842214' post='2153927'] It can be quite a complicated subject, but basically "consonance", when two notes sound good together, comes from the harmonic overtone series. Rest your finger at the 12th fret of the A string (exactly half the length of the string), pluck the string and remove your finger... you get a note that is higher (a harmonic) than the note you would normally get on an open string... without going too far into the mechanics of it, that higher note is twice the frequency of the open note... or what we call an octave. Do it again at the 7th fret (exactly third the length of the string)... same story, but even higher... you get a note that is 3 times the frequency of the open note... or what we call a perfect 12th... or a perfect fifth above the original harmonic. It's also a bit quieter than the original octave harmonic. And so it goes on, getting higher and higher and quieter and quieter. If you keep doing this, you find that the harmonics that end up being the loudest form the intervals that sound the best when played together because they complement each others' overtones. The most widely used scale in western music is the major scale... it's formed from combinations of low order harmonics and produces nice, consonant melodies and harmonies. Without explaining the maths behind it (which aren't complicated), you get a scale comprised of the following intervals: 1: 1/1 2: 9/8 3: 5/4 4: 4/3 5: 3/2 6: 5/3 7: 15/8 8: 2/1 So if you wanted to create a major scale from A (55Hz), you'd get: A = 55.00 Hz B = 61.88 Hz (= 9/8 x 55) C# = 68.75 Hz D = 73.33 Hz E = 82.50 Hz F# = 91.67 Hz G# = 103.13 Hz A = 110.00 Hz Sounds lovely, but what if I want to play in B major? Let's assume we're filling out a piano keyboard... we're starting from the B we got from the A=55Hz scale we've already built: B = 61.88 Hz C# = 69.61 Hz D# = 77.34 Hz E = 82.50 Hz F# = 92.81 Hz G# = 103.13 Hz A# = 116.02 Hz B = 123.75 Hz Some of the notes we don't have, so we can add extra notes (black keys or whatever), and some of the existing notes are okay, like the B, E and G#, but look: C#, 5/4 x A 55Hz = 68.75 Hz C#, 9/8 x B 61.88 Hz = 69.61 Hz F#, 5/3 x A 55 Hz = 91.67 Hz F#, 3/2 x B 61.88 Hz = 92.81 Hz If we use the existing C# and F# from the A major scale, B major will sound terrible! In fact, every major scale except for A major will sound terrible. We get past this by reducing the consonance of the A major scale to make it sound just "quite good" instead of lovely so that every other key sounds "quite good" instead of terrible. We do this by making all semitones equal. It's a log2 scale, so we use a formula reflecting that 1: 2^(0/12) 2: 2^(2/12) 3: 2^(4/12) 4: 2^(5/12) 5: 2^(7/12) 6: 2^(9/12) 7: 2^(11/12) 8: 2^(12/12) The 2 comes from the doubling of frequency per octave. The denominator, 12 comes from the number of subdivisions we want (like frets, semitones) and the numerator is the number of frets/semitones above the reference note. All semitone intervals sound equal now so we call it 12 tone equal temperament. [/quote] A big Thank You for taking the time to write that post great stuff

Welcome to the 50's club Clarky !

TBH at that price, you could go around £100 more and get a decent secondhand roadworn Tele, they are supposed to be rather nice. Personally, I'd be a bit cautious about a guitar that's been dropped and I couldn't play before commiting to buying it, but that's just me. Good luck whatever you do.

Interesting version there Pete, with the lovely Mary Hopkin at the end of the footage. The bass in the one I posted - I first thought it was a DB as the sound is so open. On reflection though, the intonation is so precise I now wonder if it was a fretted bass. Not likely to be Macca's Hofner, as that's usually a more muffled sound. Any ideas anyone ?

A world without love by Peter and Gordon. Have a listen to the recording and especially the bass. Enjoy [url="http://youtu.be/iM0pD5NbQKY"]http://youtu.be/iM0pD5NbQKY[/url]

Cost of a new beta 58 capsule from Shure is around £55.00 - £60.00, whereas new beta 58 = £126.09 +vat from studiospares That said, a new SM58 from said shop is £71.83 +vat and a beta 57 + £106.08 +vat. I'll have to contact Shure re replacement capsule cost of an SM 58 and SM57, but the beta 58 seems to be worth the trouble ?

Hi all Looking into repairing an SM57 that's stopped working after I had hassle trying to replace the screen unit. The diaphagm appears to move in and out with ease and there's no tears to the membrane. The Circuit is intact, yet the mic. doesn't work anymore. I'm guessing it's time for a new capsule. While reading around the topic, I see many people advising something along the lines of "You may as well buy another one instead of replacing the capsule". This puzzles me, as once a new capsule is fitted, you'll effectively have a working microphone that should work as well as a new one. Ok, the body of the mic may look secondhand, but that's not much of an issue TBH if you're after a reliable piece of working kit that works well. Any thoughts BC ? both around the the mic problem and around the value (or not) of fitting a new replacment capsule. Thanks all EBC

Interesting thread knocking about here recently where everyone shared their thoughts about checking neck relief. While the subject of checking necks is still fresh, I thought I'd ask a question about something I've been mulling over for a while. A short while ago, a new set of neck radius gauges hit my doormat. On inspection, it's difficult to really tell much difference in curvature between gauges of 9.00, 9.50 and 10.00 or 14.00 and 15.00 etc. When a gauge is placed on the neck, I find it quite a challenge to verify that one gauge is a closer match to the radius of the neck than another. In short, how do you tell which gauge is the correct one ? Additionally, do people check the radius of the fretboard or the frets ? or both ? Thanks all EBC

[quote name='Dom in Somerset' timestamp='1372839511' post='2130444'] I had to learn Madness' House of Fun for a pantomine pit band a couple of years back, that is a serious bass line. [/quote] +1 definately

Came across this thread while looking for something else. Lola by the Kinks - everyone in the band thinks they know it, but when it comes to doing it, no one can agree what bit comes where Days by the Kinks is also another favourite for that to happen

Just bought some tuning pegs from Pete. Excellent to deal with and prompt delivery too Thanks Pete

Bought a volume pedal from Mark at a nice price. Arrived really quick too. Thanks Mark

Where's the Tesco value prime minister t -shirt ?

Graphite paint is also available from e -bay - easier to apply than copper shielding

I remember reading around here that Jamerson used to get such a fat sound by setting the volume high and playing with a very light touch. It's something I'll have to practice, practice, practice, as I sing a lot while playing (which will only increase) and my attention is very often purposefully divided here, there and everywhere I'm sure someone else will be along soon with more constructive advice. Good luck with it

Oh goody, I also get to do this one I'll leave this alone now... promise [url="http://youtu.be/faiwblIEvB8"]http://youtu.be/faiwblIEvB8[/url]

You mean this one ? [url="http://youtu.be/tUqvPJ3cbUQ"]http://youtu.be/tUqvPJ3cbUQ[/url]

[url="http://youtu.be/ltRwmgYEUr8"]http://youtu.be/ltRwmgYEUr8[/url]

Nipped down to Worthing to drop a some cabs off to Michael and Mrs Merlin. We spent a nice time chatting about basses, Juicy Lucy (the band ! - look out for that drummer) while they plied me with tea. A great way to spend an afternoon. Highly recommended, deal with confidence, Michael's one of the goodn's