essexbasscat

Noticed the underlying assumption in the OP's idea that the change of bass caused the back problem. It is tempting to grasp the idea that the bass caused the problem, as the back pain appeared soon after the bass change, but consider; - It is possible that the bass was the final straw that just revealed a pre - existing back problem, caused by other issues - If the bass is heavy enough to cause a back problem, how do we account for the absence of a left shoulder problem ? that's just for openers. There may well be more going on than meets the eye here. Get it checked out by a health care professional that knows what they are doing. +1 to a physio Hope you get it sorted out soon and have a pain free bass career ahead T

Maple / Maple Precision with a white scratchplate, my first genuine Fender. Sold it to buy my Goodfellow, the first bass of choice for over 12 years since then. If that Maple / Maple appeared in front of me I'd have it back in a heartbeat. T

Not sure I have a good understanding about the nature of the problem you are describing. Would you be splitting one input signal into; - Several complete amps (a fleet of amps) comprised of pre -amp and amp i.e. as in a handful of combos - several different pre - amps into one power amp - etc, etc If you clarify the question some, it may be easier to offer something. Just my 2p's worth T

The Bee Gees original seems to be the more melodic version of the two, a more considered style of listening music with the more diverse rhythm mechanisms of the two. Backing vocals more complete too. The bass line of the Candi Staton version is very typical of it's era, lots of 'octave pops' and a simpler, bouncier fare all around, catering to the Saturday Night Fever conscienceness of the time. Still don't know who played the bass though. T

Chinese CV Jazz or P. Both punch well above their weight. Keep the change.

It's still an Antoria, even if Noel Redding owned it. Based on my experience of Antoria's, there are generally much better instruments to play out there (unless it's practically given away). Unless you've been looking for a bass owned by the player from Smokie ....... Mind you, according to another thread around here, other people have had good experiences with Antorias. Perhaps I only found the duffers. T

Any progress on this one ?? T

Missus came home early the other day and nearly caught me adjusting a trussrod... luckily I was able to get my glam costume on in time to save any embaressment..... T

Until this thread came along, I've treated the neck shifting on my latest favourite bass like an embaressing personal problem - I just dont' talk about it. I'm coming out of the closet, one of mine is shifting too T

Ooo er missus. What happened there then ? T

Used to be The Ballroom Blitz by The Sweet in another band, but it's anything these days

[quote name='maxrossell' post='968284' date='Sep 26 2010, 12:18 PM']I had a worse one. I was walking home from work one day, and my path took me past a pawn shop. In the window of the pawn shop was my bass, that I had left in a shared rehearsal space I occupied. One of the c*nts in the other band had nicked it and pawned it for weed money. Fortunately I was able to get it sorted. But it was not a nice feeling.[/quote] Aghast !!! what poor form

Not posting this to destroy anyone's confiedence here, more as an example of what can be achieved naturally without any effects whatsoever. BV's are a skill in thier own right. Singing the main line has the problem that it's often on it's own, but it's often the most memorable and therefore easiest to remember on the spot. BV's require that moment's thought before hitting that note which may not be the obvious one at a glance. Confident BV's can make a song, or in the case of the Beach Boys and the Tremeloes, help to make a distinctive band sound. Practice, practice, practice T

Heard that they produce some really nice, creamy tones, but the volume may be on the low side. In particular, the Bassman series seems to have been around a while and a little research reveals that some early ones had black fronts and the silver fronts came in sometime during the '70's. Apparently, they were the amp designed to accompany the Fender Precision and well liked by guitarists. THe circuitry seems to have changed a bit over the years. Were there any real differences in the sound over the years ? were there better years than others ? T

Hi all Did a low volume reheasal yesterday playing my RW Precision through a little Fender Champion T10 with the lower frequencies turned up a bit. Was really surprised at how warm and round it sounded, a really pleasant platform that everything else just sat on. Got me thinking about the Fender amps, the older valve ones and the newer TV series. Also noticed that another thread by Beedster asking for combo recommendations, no- one recommended the Fender combos. Any reason why? just curious about everyone's opinions of the Fender bass amps really, both valve and 'other' Did a bit of research and found Pete Academy's recent thread on TV combos. Volume a bit of an issue ? Has anyone compared a Fender valve head and an EBS Fafner head ? Noticed the Fender Pro 300 head, all valve, but costs a morgage. Any less financially painful solutions out there ? thanks all T

I've recently been fairly secure in the knowledge that I had no more GAS for basses. Then I see this and realise the truth....... the one fatal weakness, maple /maple Fenders GAaaaah ! T

Bands can bash away like animated thunderstorms, but that doesn't preclude playing with sensitivity and listening attentively to each other Try 'The wind cries Mary' by JH or, even more so, 'Speed King' by Deep Purple. Great beginning and a fine example of volume control T

[quote name='bubinga5' post='966054' date='Sep 23 2010, 08:35 PM']this is the best posts ive ever read on Bass chat...it has nothing to do with the fact that i agree with it swear!!!!![/quote] Aw, dude

One of my pet grinds, this topic I've lost count of the times over the years where the situation has been; - Very little or no sensitivity to approaching how a note, a song or sound is initiated, expressed, the duration of the note - Very little attention is given to the team as a whole - Very little or no attention is given to letting the song breath. As a result, a wall of sound is produced that Phil Spector would have been proud of. This results in indifferent teamwork The casualty is quality. At the very start, each band member seems to be totally focussed on the next thing they are going to play or sing. NO ATTENTION APPEARS TO BE GIVEN TO ACTIVELY LISTENING TO EACH OTHER AND RESPONDING TO EACH OTHER'S CUES. I can count on one hand when this has not been the case and a band actually pays attention to 'light and shade'. The volume issue is secondary to these initial problems IMHO. If everyone is actively listening to each other, then the volume would tend to be appropriate to the given situation by default. I honestly don't believe it's unrealistic to have a vision of good musicianship as a pole star in a musical career. It certainly drives me on to aspire to better performances and ongoing attempts to materialise the concepts of; - Groove - Articulation - Technique - Emotion / feel - Dynamics - Tone - Phrasing - Appropriate rests, or space I don't often (if ever) get the lot together, but I keep trying to keep my eye on the ball. What drives me on ? the vision / dream / hope of that nirvana and the beauty when it all falls into place and the band works as one unit, in the moment. Those sweet moments will make it all worth it. T

try GuitarNuts.com lots of info about sheilding (but applied to strats-theory is the same) graphite paint can also be used for cavity sheilding T

I've noticed this too "Thats the key of C#" "[i]No it's not, that's Db !"[/i] T