Conan

Despite answering "no" in the poll, I do favour my Geddy with my current band. It is also the newest bass of my three, so I am still kind of getting used to it. Also, the two guitarists in the band play Fenders so it looks nice too!

[quote name='dmccombe7' timestamp='1327001730' post='1505113'] First came across Jimmy Haslip on late 70's album Brother to Brother by Gino Vannelli. [/quote] [url="http://www.youtube.com/watch?v=eVm6hL0cynA"]http://www.youtube.com/watch?v=eVm6hL0cynA[/url]

[url="http://www.youtube.com/watch?v=DtA0i2flBDM"]http://www.youtube.com/watch?v=DtA0i2flBDM[/url]

Another vote for the GL jazz bass here... Assuming that by "slim" you mean "shallow"? I.e. front-to-back rather than side-to-side?

[quote name='xilddx' timestamp='1360337023' post='1968925'] I remember a grown up musician on here (can't remember who) saying pretty much every note on the kick drum should be covered by a bass note. I honestly couldn't comprehend why anyone would believe that. Bizarre [/quote] Depends what effect you are going for I suppose. In some styles of music that could work, but it seems to be making music a prison rather than a playground. Why make up rules where there need be none?

[quote name='xilddx' timestamp='1360335150' post='1968873'] Playing to the vocal is my thing, playing to the drums is most definitely not as important to me as designing lines that support the vocal. I like to let the drums have a lot of space, I like to hear them shine.[/quote] [quote name='thisnameistaken' timestamp='1360335927' post='1968895'] I agree. I honestly think the whole 'lock in with the drums' advice that beginners get is pretty bad advice. I would say that regardless of what instrument you're playing, your first job to make the vocals sound as good as possible.[/quote] I agree with both of you! But it's horses for courses (or lasagne...). In some bands the vocalist fits in with the rhythm of the drums too, so as bassist your task is slightly more complex as you then have to avoid (or comppliment) what the singer is doing in terms of phrasing or pitch... In other bands, the vocal melody may go off at a complete tangent to the other instruments, in which case you can either 1). Ignore them and get on with providing a solid foundation, or 2). "Weave" in amongst the vocalist's phrases and melodies to add another layer that improves the track. A lot of it stems from knowing your bandmates' styles and knowing your own style. Both take time.

[quote name='LeftyBiskit' timestamp='1360285479' post='1968243'] I listen to the drummer, and "play what i feel" then incorporate that with whatever chords/notes are going on. beyond that......I cant explain [/quote] That's pretty much me too, although sometimes a bassline will evolve if I get a better idea and it fits well. In my current band, all of the material is written by the guitarist. So when I joined the band he had already recorded quite a bit of the stuff with his own basslines on. At first I simply learned his lines as they were, and then started to change them to suit my style of playing. He was perfectly happy with this, even though he is a pretty decent bass player himself. Now when we write new stuff I mostly follow the formula above - follow the drums so that there is a solid rhythmic foundation and them work around the two guitars to bring some harmonies and counter-melodies in. Then I like to take away a recording of what we have at that point and listen to it over and over again to try to see what is good and what needs to be changed. It works pretty well in this band, and is a method that works well for me!

[quote name='paul_5' timestamp='1360276483' post='1968121'] Chronicles - Rush (a bit of a cheat, I know, but it's the first Rush album I got; I learned a lot from those 2 cassettes...) [/quote] Wow! That collection covers everything from 1974 to 1991, and geddy changed his style (and bass, and strings...) quite a few times in that period. Which of his "incarnations" best sums up your style do you think? I'm most like his Test for Echo style I think...

Two years ago?!? Crikey. Can't believe it's been that long. If the death of a person moves or affects you in such a way that you will always remember where you were when you heard the news, then I think it is an event that is worth remembering. For me that list is short (apart from family and friends of course). Gary Moore is one of them. As is John Martyn. RIP both.

Compared with Ebay, Gumtree and the like, this site is relatively free from these types. But you do occasionally encounter them. Frustrating, yes - but it could be a lot worse! And it's usually the new members...

[quote name='GreeneKing' timestamp='1359980658' post='1962775'] I suspect your comment Conan about build was based on knowledge of the BF alone? Both cabs sound great and I'm not about to promote a cab bun fight. Both are great cabs, just significantly different approaches to the box that the speakers fit into.[/quote] I am yet to see/try an EAD cab, so yes - my comments re build quality are restricted to my knowledge and experience of BFB. I was really responding to your original post that they seem flimsy. To an extent they do, but in use they are less so than they seem. No "bun fight" intended here either. I just thought that the original comparison (S12 vs. F212) was a bit unfair as they are trying to be different things. A far more useful comparison would be (as you said) Big Twin T vs. F212. And as you rightly say, the financial side is much more balanced too. I think we are actually agreeing with one another...

Crikey! Those kids have frighteningly extensive vocabularies!

[quote name='eude' timestamp='1359979339' post='1962726'] To be fair, the Big Twin T is much more along the same lines to the EAD Foundation 212. The Big Twin T is £1050 + the Neo surcharge of £40 per speaker = £1170 which is very much in the same ballpark as the EAD at £1250.[/quote] Agreed. That would be an interesting A/B test!

[quote name='TPJ' timestamp='1359979379' post='1962729'] The comparison was with a BF with tweeter so that model starts at £870 + £80 for the speaker surcharge = £950. The EAD was going for around £975 until recently so quite close in monetary terms. EAD gives you a nice cover with the cab too. [/quote] Oh right. Fair enough then! I assumed that the Nd surcharge had already been added on the BFB website price. F212 is definitely £1250 now though...

[quote name='GreeneKing' timestamp='1359976495' post='1962650'] [font=arial, helvetica, sans-serif]the EAD has a slightly better 'range' and the bottom end sounded a little fuller. Both great sounding cabs.[/font] [font=arial, helvetica, sans-serif]The BF is lighter. [/font]The greatest difference is in the construction and build quality. I'd be very much more worried about a BF cab suffering damage than the EAD. Given the respective prices the EAD is the better cab imo, [i][b]hands down[/b][/i].[/quote] Interesting! Having said how close they are, you then state that the EAD is the better cab "hands down" - which kind of implies that the difference is massive! Also, I was under the impression that the price difference was quite big! With the "standard" (i.e. not-tweetered and with the steel grille) S12 coming in at £760 vs. £1250 for the Foundation 212. That's a pretty significant price differential I would say! IMO, the EAD cabs really look the business. But my experience of the fit and finish on BFB cabs is that they stand up to a lot more abuse than people think... So yes, they may both be British built and designed 2x12 bass cabs, but the differences mean that they will probably not occupy the same market niche (IMO). Thanks for the review though!

Nice playing, and very nice sound you have there too

[quote name='Jack Cahalane' timestamp='1359964607' post='1962477'] I wouldn't say my choices sum my style up because I steal little tricks and techniques from almost everything I listen to [/quote] Same here. But as I tend to wear my bigger influences on my sleeve... and maybe...

[quote name='karlfer' timestamp='1359751846' post='1959983'] My bugbear is somebody buying a P on FEEBay for £665 and putting it on here the next day at £1000. [/quote] Yes, I can see how that would be irritating - and it is certainly a bit cheeky - but he is within his rights to try to do it. Guys like yourself will always spot this type of thing and either bring it to the attention of others or offer him what you deem to be a "fair" price knowing what he paid. That is also fair! But yes, back on topic....

[quote name='Gust0o' timestamp='1359623653' post='1957591'] Is claiming that metal is derivative now also derivative? It seems that even the criticisms are mere shadows of past glories [/quote]

[quote name='silddx' timestamp='1359728662' post='1959493'] I have never really thought they were 'mate's rates'. I see it as offering a decent price to compensate for not having to pay ebay and paypal fees. [/quote] Oh yeah - absolutely. I was really replying to an earlier post that suggested that someone was somehow being greedy and unsporting by trying to sell at a price higher than the one that they (the earlier poster) had in mind. I think that's niggardly and unfair. Nobody on here deserves a special price [i]just[/i] because they are a member of this site. That's the point I was trying to make...

If you can afford it, go for it! Status basses hold their value pretty well, but it's unlikely they will ever appreciate. I wish I could afford another one! A fretless five string maybe...

In order of personal preference: 2, 3, 1. I actually think the US P sounds rather dull in comparison to the others, and the Bitsa in particular. The third one isn't quite in tune with the other two, which affects the perception of tone, I would imagine. Interesting though!