Mog

Aw crap, so thats a high end bass, a high performance motor and now my new fangled mountain bike that I've to get rid of?

So what you're saying is we should all cycle to gigs?

That I dont know lad. Maybe Warwickhunt might know, he's the resident wick expert. I'm sure he wouldnt object to a pm. Failing that theres the Warwick forum and Warwick CC but IMO Warwick aren't the greatest to deal with lately. In fact its one of the reasons I've moved to Spector.

TBH both are available for next to nothing secondhand if you go with Boss. Both do their job very well so I'd say go with the two individual pedals.

One mans crunch is anothers overkill lad. What are you looking for exactly, a mild blend of overdrive and clean or face melting fuzz?

Aye usually means an in-house pa system. Most clubs will have their own IME. Word of warning though, always find out if there is backline and suitable monitors.

If you are happy with the original tone then grab a set of Warwick Black labels, as thats what the bass was shipped with (presuming its purchased new). Otherwise try and figure out what brand is on the bass atm. A few pic's might shed some light if you're stumped. IME guage has very little impact on sustain wrt standard sets. Unless you jump from an E of 90 to an E of 110 the effects will be mimimal. To answer your question though I've always found that excessively thicker strings can be of lower sustain than thinner guages as tension/scale length comes into the equation.

[media]http://www.youtube.com/watch?v=tGMuSyjjcRY[/media] Been listening to this guy a lot lately. Gonna mess around with the tuning of the 4 higest strings on the 6er and try some of his tunes at the next jam session.

First brand that springs to mind is Dean Markley Blue Steels. Some clever comp application should help with sustain.

GK RB1001 if possible, if not then the MB500 grits up nicely. Slightly on a tangent here but have you tried throwing an Ashdown Lomenzo or an EBS ValveDrive in front of the Eden?

[quote name='thodrik' timestamp='1322422580' post='1450716'] I really don't understand at what point a bass becomes a 'high end bass'. I suppose we are comparing 'high end' to 'higher high end' when we compare Roscoe, Vigier, Spector etc to Ritter, Alembic and Fodera. At that point what is 'good' depends on the person playing it and what they want from the instrument. I have no need for a Ritter, Alembic or Fodera, but if somebody wants to buy one, then good for them. [/quote] Great post lad. Back OT, I'd say that at a certain stage everything either becomes an embellishment or just downright ridiculous.Theres only so much a type of wood/alloy/pcb can do for your tone. The posts regarding technical ability being enhanced by higher end gear are interesting. Can someone of this opinion answer what exactly the higher end basses offer compared to some budget stuff.

Nice topic Pete. A talent for a specific act/ability cannot be passed on through genes/inherited. They are learned. How quickly people learn has roots in genetics. Are talent and genetics therefore[u] directly [/u]linked? IMO no. Theres also the fact that she is still very young, at an age where learning is far easier. If she picked up either instrument in 30 years time would she progress at the same rate?

[quote name='BurritoBass' timestamp='1322327392' post='1449495'] I am on here a LOT less than I used to be but put it down to a change in me rather than a change in the site. I enjoy myself when I'm on here but it tends to be 10 mins every couple of days rather than spending half my evening every night on here. Off topic aside I guess there is only so much time you can spend re visiting "Fender vs Warwick", "Are Rotosound rubbish?" and the usual threads. Great fun first time around but once your opinion has been shared I guess people start to know where you stand. After all I guess only so much can be said about the bands we like and the gear we play. You wouldn't have the same debate with your friends over and over again. Let the new posters have fun with the topics I've debated So personally I'm off doing a bunch of other stuff but having a genuinely renewed interest when I do come on here. [/quote] This sums it up nicely IMO. As a resource I think the site is constantly improving. As a community it's bound to change over time. TBH I get a real feeling of constraint from a lot of the posts in the local. Maybe people just dont want to ruffle feathers? FWIR there has been one major incident in the last couple of months, certainly a change in that regard.

[quote name='silddx' timestamp='1321536012' post='1440269'] Seem absolutely fine mate, never had a problem, even with the clean preamps. [/quote] Sound. Looks like an upgrade is on the cards......

[quote name='LiamPodmore' timestamp='1321479703' post='1439798'] I'm pondering on whether instead of getting a new amp, putting together a 6U rack with Line 6 Relay G90, POD X3 Pro and a Peavey IPR. Liam [/quote] Aye, same as. If you do make sure to get as long a CAT5 cable as possible. And try and get one that will show up on a dark stage so you dont get caught up in it. Nige, how does the X3 handle active pups? The Basspod XT can be a little overawed by them. IME the only Sims that can handle the Spectors are the SWR and Eden models. Everything else just dirts up too much.

[quote name='bubinga5' timestamp='1321034271' post='1434726'] Just got this DVD.... wasnt really into alot of RHCP's until i saw this DVD... hadnt really listened to a huge amount... This DVD was a cracking purchase.. after a small blunt i watched this all the way through.. now i get how good Flea is.. [/quote] That was probably the only RCHP gig I was at that wasn't a washout. Seen them 6 times and they've been pants at each. The Slane DVD makes them look a lot better than they were on the day. If it wasnt for Flea there'd be no 'chillies, simple as.

Nice finish. How does it sound?

DiMarzio. (jaysus I'm beginning to sound like a broken record)

[quote name='Geek99' timestamp='1320844889' post='1432149'] I disagree with Mog, some people, like my mother, can pick out a tune on a broken guitar with no strings, I'm not one of them, is what I meant. [/quote] A result of being familiar with the instrument which is a product of practice. Its the same with perfect pitch, its all a matter of association.

[quote name='Jack' timestamp='1320767190' post='1431117'] I'm auditioning for bands at the moment, and I always take the Fender P. It's just more accepted, and a[color=#FF0000] P or a J is ESSENTIAL if you want to do session or sideman work. So[/color], assuming that you have to own a Precision or a Jazz (which, IMO is wrong but there you go) this way you have a choice. Your alternative would have 90% of the bass playing world on fenders, this way we have a choice of Fenderesque instruments from different manufacturers. [/quote] P or J or P or J type? I've never turned up to a studio or session gig with a Fender bass. Most of the time I used a cheap Yamaha BBG5 and got nothing but good words from engineers. Most of the session musicians I know use Sadowskys or Custom builds. One in particular has an original 60's jazz and wouldnt dream of using it in a studio setting.

[quote name='Geek99' timestamp='1320232908' post='1423982'] I have lessons and I'm struggling with timing. My teacher thinks I'm trying to do too much at once. He plays bass and drums. I'm not a natural but I am determined to be as good as I can be. Using a metronome I can pretty much hit the right spots to place the notes (down to eighth notes, not tried sixteenth notes yet), but with a drum track I get totally lost and its vague at best. My sense of time is okay - we tried just marking beat one and counting the others and I was coming in on the one each time. advice ? (btw Please dont tell me to work with the metronome set to beat two or anything uber-advanced like that - its just plain confusing at the moment) [/quote] Firstly, no one is a natural bassist/musician. You'll get out what you put in. I've noticed with some beginners that I've thought that it can take a few months to get them playing in a fluid manner. Others can pick this up easily. I think that you may be focusing on this aspect too much. Instead try to relax and play what comes naturally. You may find that you prefer to come in on the second or third beat and thats fine. You're developing a personal style. There are many reference points which you can use when playing along with a drum track eg. bass drum, snare, between the bass drum and snare, hihats etc. You'll know your start and end points so just join up the two. Timing is not just about playing within conventions. If you can hold a beat in 4/4 at 80 bpm you can do it at 3/4, 5/4 etc. Its all just a matter of practice, just give yourself time to improve. KEEP USING THAT METRONOME . It does help.

Mesa. Nuff said.

[quote name='chris_b' timestamp='1320668838' post='1429606'] [size=4][font=Arial][color=#000000]50 years ago Fender basses were as good as they could be. Recording, amps and the music didn’t require any more than what they were, but things changed, so it was natural to see changes in basses, even Fenders. [/color][/font][/size] [size=4][font=Arial][color=#000000]Unfortunately Fender wasn’t very interested in making the changes that customers wanted so others started making super "Fenders" and thank god they did. Lull, Lakland, Nordstrand, Sadowsky and all the others are fantastic instruments way better than the accountants at Fender could ever dream of. [/color][/font][/size] [/quote] [quote name='bass_by_name' timestamp='1320670588' post='1429651'] Some would argue that the Musicman Stingray was the original Super P. Apart from that, there are not so many but off the top of my head the Lakland Duck Dunn and Bob Glaub, Celider and Mike Lull. [/quote] Aye, I think Tyler also do a P. My point though is that one of the main reasons for owning a P is its simplicity. Does what it says on the tin. These improved models does what it could do but not what they should do.

[quote name='Norris' timestamp='1320670914' post='1429661'] There do seem to be a lot less venues to play as each year passes. The few remaining pubs that have live music in my area still pull a few in, but more and more pubs can't afford a band any more. I was talking to the landlord of one place a couple of days ago, who was hoping we might get minimum alchohol prices like Scotland are introducing. His opinion was that booze from supermarkets is so cheap that no-one goes out any more. I suppose you'll always get your hard-core live music fans who will still go out of their way to see bands, but your average Joe Public won't - not when he can sit at home watching X Factor & drinking beer a fraction of pub prices. [/quote] Aye, its heading that way too over here. IMO however its up to the band to pull the crowd and not depend on/blame the cost of beer. Bands have to assume some of the responsibility for low numbers at shows.

TBH I think its a big risk leaving two musicians you you know are reliable. If its just the negativity thing getting to you then you should bring this up with the other members, the offending party included. If you have as good a working relationship with them as you say they'll more than likely want to remedy the situation. Leaving should not be discussed yet. Say what you posted originally, maybe a little less bare boned and see what they make of it.