essexbasscat

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

twiggy just gets cuter as time goes by...

Rudiments and theory by the Royal schools of music. Red book, covers all eight grades

This one seems to be two part in it's nature, 1) The feel and playability of an instrument 2) the sound an instrument produces when amplified via your on - stage bass rig speakers Both issues seem to open to a wide variation of interpretations and opinions, as they are often a matter of personal taste, unless a certain sound is specified by the person(s) doing the hiring for the gig/session. Having messed around a bit with different pickup/instrument combinations however, I do wonder if it's possible to have the desired sound from practically any instrument (within reason), as pickups do seem to have a huge influence on the final amplified sound. Is it a case of changing pickups on the desired bass to have the best of both worlds ? I've lost count of the number of really playable basses I've traded in over the years because they didn't have the right sound, only to realise years later that a pickup change etc was all that was needed. Talk about throwing the baby out with the water WH - if the ideal sound had been established with the PRS, was it not possible to get close with the other basses ? i.e. more/less of this or that ? T

Good topic this Clarky. Been wondering about this myself, as I dont' have a definative answer to this one either T

Ok. Always been curious about this one, but usually get distracted into other things, until now. The Kate Bush thread featured some of 'those' bass sounds, which I've posted again here as examples, along with a few others. It doesn't sound too boomy in the bottom end, perhaps a bit more in the low mids on the bass itself ? (for an active that is. On a passive bass, perhaps more on the bridge pickup ?) THe bass just peeks through on the Annie Lennox one, but the tone is Sooo nice Anyone have any ideas about reproducing these 'classic' sounds please ? is there some double tracking / chorus going on around here ? Reverb ? Ta T

Have a word with Kent Armstrong's (WD music). They keep necks too T

[quote name='Stingray5' post='960108' date='Sep 18 2010, 03:40 AM']Certainly sounds chorused, maybe double-tracked too? Or could be something like one of the Electro-Harmonix chorus pedals (Small Clone? Electric Mistress? etc.)...?[/quote] I was thinking the same. It would be great if someone could explain how to nail this sound, as it's that 'classic' fretless, typical of Jaco etc Very similar to the sounds also used in 'No more I love you's' by Annie Lennox and 'Will you' by Hazel O Connor T

The more I think about this performance and the comments here, the more I reflect on how much live performance expectations have been affected by autotune, etc A benchmark standard here perhaps ? By the way, we certainly have some pedigree around here eh? a real pleasure to hear about members past experiences with this and other bands from the past T

Is that just chorus on that fretless in Babushka, or is there more ? T

[quote name='gary mac' post='959932' date='Sep 17 2010, 09:15 PM']No auto tuner in evidence with this lot. Imagine some of the X Factor lot trying to sing this number[/quote] Soooo right T

This one has come up on the band's setlist. Just checking out the song for vocals etc and found this performance by the Tremeloes. It's obviously live, with all four band members harmonising. I often refer to the studio recording to get a good drift of a song, but in this case, the live performance is actually better, which is reason why I'd like to share this nice piece of musicianship with you all. For anyone that enjoys it

Gig venue to be confirmed for that night (which could complicate things), but I hope to angle things to get there for the day T

Any progress on venues for this bash ?? T

had a long day and for the first time in a long time, this came to mind to unwind to Hope someone else enjoys this too T

Who left the echo pedal turned on again ?

[quote name='bluesparky' post='945470' date='Sep 4 2010, 04:06 PM']Am i missing something or is it an in-joke? [/quote] try the 'you can't beat an all valve head' thread. Make sure you have coffee and pain meds handy, it's currently at 20 pages and still running ! T

Tubular Bells

Sorry, but for cool, Joe Jackson don't even get close to Roxy (IMO of course)

Usually too busy with the other band members packing down the kit. In current band, everyone chips in until everything is loaded up to go home. We did have a guitarist recently that would only pack his own stuff away and then stand around watching everyone else being busy. He got sent to the Gulag T

[quote name='fadrian' post='945143' date='Sep 4 2010, 06:28 AM']Sorry, no pics, and to be honest, I have a love/hate relationship with these heads. Love the power, flexibility, durability, and value; hate the weight. I have both a Mark III and a Mark VI head (don't worry, the VI still has a handle on the top ). I bought them from Craigslist ads for $75 and $100, respectively, a year or so ago (probably got taken a bit, but I was a newbie at the time and didn't haggle). I normally gig with the Mark III into a 4x8" SWR cab. I use an EH Big Muff Pi Bass Fuzz and the dual outputs (effected and clean) from the pedal going into the dual channels of the Mark III let me dial in just the right mix of dirt and clean. The 4x8" cab gives me good enough bottom, and I like the zing I can get from the 8" speakers. However, for larger venues, I also roll out a 2x15" Peavey cab (which runs about 40-50 kilos), and run bi-amped. The Mark VI has a parametric electronic crossover for its bi-amp outputs so I use it as the control head and to drive the 4x8" cab from the high frequency bi-amp output. Although I'd love to use the Mark III as the control head, it only has a fixed crossover frequency, so I take the low frequency bi-amp output from the Mark VI and plug it into the Mark III's power amp input, using it to drive the larger cab. When I use this configuration and crank it, it sounds like Armageddon has arrived. Granted, the number of places I can use this setup is minimal, but it sure as hell looks impressive with two big old Peavey heads capping an almost two meter high stack of amps and speakers. That being said, I'm not getting any younger and I'll probably be looking for one of those wimpy Class-D things soon, if only to reduce wear and tear on the body. I guess that means I'll be saving the Peaveys for special occasions.[/quote] I would love to try that setup for a bit. When I next play a festival, that's got to be the one ! Anything less than a festival and there would be too great a risk of being prosecuted for killing things with sheer audio power ! T

Of course, there would have to be a reserved room for the SVT rigs...... T