Chris2112

Ouch, thats a sticky situation!

[quote name='geoffbyrne' post='736170' date='Feb 5 2010, 01:46 PM']Stingrays? G.[/quote] This sums it up perfectly for me. Indeed, as I understand it, the Ray was to be a modernised super P bass when it was designed. For me, the Precision is utterly useless. Move the pickup lower and generally make it more playable and better looking and suddenly you've got a winner!

[quote name='Doddy' post='738402' date='Feb 7 2010, 07:59 PM']Why not just remove it then? It's only held on by a couple of screws.[/quote] Because I sold the bass after a couple of weeks or so, and I knew from within the first couple of days that I wouldn't be handing on it. However, removing it wasn't really neccessary as the bass sounded best with the bridge pickup on solo being plucked. The slap tone was so-so, so it didn't see a lot of that.

Hmm, I always find the tone a tiny bit lacking in Gerald Veasley's hands, although sometimes he can get them sounding pretty cool. But when I've played them, I've always been impressed with them, especially the prestige stuff, which is very good.

Yeah, the only thing I didn't like about my Squier Classic Jazz bass (which was awesome, despite the fact I didn't keep it long) was that the finger rest got in the way when slapping!

[quote name='silddx' post='735706' date='Feb 5 2010, 12:42 AM']His sound was sh*t because it was never sympathetic with the music, he was possibly the most selfish bassist ever to gain glory. His technique and musicality were awe inspiring, but his sound was brash, ugly and selfish, and he was only ever out for himself.[/quote] If it is his selfish nature that has created so many beautiful sounds, then I wish I could be that selfish. Jaco's sound is still one of my absolute favourite tones, and the "Jaco honk" on a nice fretless bass is very versatile and can really be used anywhere!

Luckily for me I seem to have luck finding basses that impress me in ever respect! And my use of effects and EQ is minimal.

I'd recommend not getting a bass on finance to be honest! Save up and don't get yourself in a financial hole for what is essential a "leisure" item!

Reminds me of one of the first recordings I made, I cut a track at the end of the day with a flubbed note on a Kubicki bass which was a big, obvious 8th note. packed up my kit since it was the end of the day thinking I wouldn't get a chance to record the track again. I could have done it the next day, but no one seemed to have heard that awful bum note! It made it into the track and it was only when I pointed it out post mastering that anyone else noticed! I'm not sure how since it sounded like a bloody trumpet exploding. On the same track, the drummer managed to go out of time, and since the drum track was being recorded with a MIDI hookup and a click track, a good take was punched in over the top since that part of the song was "sparse" with only drums, keys and bass playing. I didn't have the chance to re-record my part and it was left as is, which makes it sound as though my bloody bass goes well out of time since I played along to the original, "slow" drum track! We live and we learn, eh?

I remember this joke doing the rounds on Talkbass circa 2006!

I've just bought a fretless Musicman Sabre custom bass off Greg and it has been one of the best sales I've been through as a buyer, if not the smoothest due to the mystery of the online banking! Greg has remained patient with great communication and has been a pleasure to deal with. I would recommend him to any basschatter looking to do a deal. Again, thanks very much Greg!

[quote name='wateroftyne' post='727500' date='Jan 28 2010, 12:55 PM']From Newcastle-ish, Neil Harland & Frankie Gibbon.. awsome.[/quote] Also from Newcastle, our very own Mark Palmer (who also uses this site!). Whenever I've seen Mark play I've always been blown away!

It's definitely a scam - and in my line of work I do see a good few. The sad thing is, people often fall for them and lose huge amounts of money. Give this fella a proper razzing for even trying to rip you off.

I love Overwater's custom stuff, but these jazz copies are looking a little tired...as is the whole "super jazz" thing for me now!

It needs to be thrown in a skip.

I'd usually go for a 34" scale bass for slapping because of the nice tension they have. But my Kubicki Ex-Factor was 32" and sounded incredible slapped. Stuart Hamm has had similarly good results - and the Status Kingbass is 32" scale and has one of the best tones on the planet! Furthermore, listen to Rose Colored Glasses by Animal Logic and tell me Stanley isn't getting a good slap tone there on his 30" scale Alembic!

Looking at bright yellow guitars, it doesn't really get much cooler than the stuff Ibanez did in the 80's... Shame they don't make them like that anymore!

Nice one! The second series had an even better soundtrack, the title track was beyond awesome and the music between scenes was as 80's as hell. They must have had some real pros in the studio then!

I love bright yellow basses! I'm especially taken with bright yellow Kubicki Ex-Factors after seeing Stuart Hamm's fretless on the front of "The Urge". Hippiesandwich also has a nice Kubicki.

And you know it will sound awesome too! Unlike some singlecuts!

Yeah, but not even Sei could compete with Alembic in terms of customisation IMO...and then the Alembic magic and sound is essentially unique to Alembic basses, and that comes at a premium!

I used to work in a big hotel which regularly hosted 5 or 6 weddings a week in the wedding season (summer). A great way to get into the scene is by leaving your details with the hotel, and suggesting the hotel offers prospective customers your details telling them they'll get a "discount" if they book the hotel's recommended band. Then you've got them interested in your stuff and you can give them a "discount" price, which is actually your normal fee! Then take off a small premium for the hotel's recommendation and give them their cut and you're good. Most of the best bands in the scene are hired by word of mouth, so all you need is one good gig to get some repeat performance. It's breaking into the scene and getting a gig as a wedding band in the first place that is the toughest part, I suppose. Going to wedding events is as good a way as any, but you'll need to give it a hard sell or produce something which really grabs the punters, as the pro wedding bands do pretty well to monopolise these events! If you're dabbling your feet in the water, it probably won't be the most productive avenue. Try getting on Facebook and find a friend or family member who is getting married, and play the gig for free. Take some photos, some good video and use that as an advertising platform. You just have to try your best to be professional. The best band I've seen play at a wedding (Bass player is a member here, Mike if I recall, played a lovely Pentabuzz, a Spector and a Marcus Miller 5 string...) never wore suits to the gig or anything but looked like a pro outfit, were as tight as hell and could fairly play, but knew they were hired to play the typical cover tunes. If you can put on a good show and dedicate yourself to the market, you can do quite well locally. That said, I've seen some bloody crap bands playing at weddings. A "revelation" it was not....!

Looks fairly cool, I can imagine it being quite an experience to play with string spacing like that! But if you want to get this vibe... [url="http://www.youtube.com/watch?v=krj-FCOPaL8"]http://www.youtube.com/watch?v=krj-FCOPaL8[/url]