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Sep. 2nd, 2009 @ 12:25 pm Продам Fender Highway One™ Jazz Bass в Москве в отличном состоянии 27000 руб
Продам Fender Highway One™ Jazz Bass в Москве в отличном состоянии
27000 руб

в нэке звучек Saymour Duncan STK-J2 Hot Stack Neck

описание http://www.baimusic.ru/showmodel.php?rid=14&bid=26&cid=394&mid=2093

связь slavaresh @ yandex.ru
ICQ 336711593

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тотр венок
Aug. 1st, 2009 @ 09:51 am Help ID this bass - older Ibanez
Hi all.
10 years ago I bought a (then) older Ibanez 4 string. It had active pickups, painted neck, and triangular shaped headstock (smaller & pointier than the modern SR heads). Sounded amazing, but being broke, hungry and underemployed.. it was devoured by the pawn monster.

Would love to find the same model again:

thanks for any help!
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Jul. 28th, 2009 @ 06:58 pm (no subject)
Current Music: Van Halen - Atomic Punk | Powered by Last.fm

Hello everyone! Welcome to heavy_stills icon challenge community dedicted to metal and rock musicians.

Join us and take part in the 1st challenge:

In every challenge there will be posted eight pictures of musician or band. First challlenge is about Anthony Kiedis, but it doesn't mean that second will be about Chad Smith!
Nope! It could be Paul Stanley, Sebastian Bach, Duff McKagan, Eddie Van Halen, Jimi Hendrix, David Bowie, Bob Dylan, Slash, Tommy Iommi, Kurt Cobain, Alice Cooper, The Edge and many, many others (it depends on members suggestions).
And remeber, its your community, i'm only moderator here. All your suggestions are important!
Thank you :3

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Jul. 27th, 2009 @ 11:53 am How in the hell??!!
Current Mood: curiouscurious
Hey everyone, new to this community just wanted to share a story really quick and if anyone has an answer to why this happened please enlighten me. Well, My band was trying out a new drummer the other day, who turned out to be pretty awesome, and after a few songs i realized i never even tuned my bass when i arrived and it was surprisingly close to being tuned but i decided to tune it anyway, well WTF happened next is weird I was tuning the D string when all of a sudden the string came off, now i know what you're thinking, the string popped or snapped from being wound too tight, well  no that was not it at all because like I said it wasn't far off from being perfectly tuned it might have been a bit flat,so i tried putting the string back on and low and behold the piece where u wrap the string around just pops of the socket, it had snapped inside and i was left with a three string bass, now how in the hell did that thing snap it's not like I banged it against something or had the strings on ultra tight or w/e, im pretty sure it was just from pressure and playing too hard but if anyone has a theory just let me know because that's the first time I had something like that happen to me.
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Jul. 4th, 2009 @ 02:33 pm Solid?
Current Mood: curiouscurious
I have an Ampeg SVT-3 Pro, and it's a great amp...but is there a solid-state equivalent? I'm looking to downsize to a combo, and my major concern is raw, clean power. I have a POD, among other toys; I can warm or dirty things up on a whim.
I assume a solid-state amp would cost less, watt for watt, and I could sell or trade the Ampeg to help defray the cost.
And if you HAVE a solid state combo, and would rather have an Ampeg head, please let me know.
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Jun. 3rd, 2009 @ 06:41 pm Bass MIDI converter & BOSS Bass synthesizer.
Current Mood: curiouscurious

I am looking to buy gear to basically be able to plug my bass into a MIDI input of my sound card, for then being able to use my bass as a MIDI controller for Reason. However, I am not sure what is the best combo for me and I would really appreciate some advice. The bass I use is a (5-string) Washburn XB-500 (active pick-ups). Where should I look? I really don't know where to start.

Also, I am wondering if any of you use the BOSS bass synthesizer, if you could share your experience.

THANKS in advance for any feedback!

x-posted to bass_players + bass_guitar
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Apr. 23rd, 2009 @ 01:30 am Bass cover
I decided to do a cover of Mudvayne's "IMN" tonight. Or...rather, last night [it's 1:31AM EST]. Everytime I'm given creative options, I can't help myself. This time, though, I tried my hardest to tone things down.

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Mar. 4th, 2009 @ 03:08 am It feels DAMN good.... [slightly long rant]
Current Location: - Home -
Current Music: BassiQ - "The Promenade"
I JUST realized something, thanks to my lead guitarist.

First off, sidenotes.
This happened a few days ago. It just, as of a few minutes ago, hit me.

Fred [a.k.a. Ozzi] is finally getting over himself [like I had to do a few years ago] and buckling down to books and learning SOME theory. Not much...just enough to open his mind up. Like I had to do about 2-3 years ago for bass. Well he told me a few days ago what he's learning. He said a sentence that hadn't hit me until now. I'd told him that if he learns his scales by name [such as F# min], then he's MUCH better off than I am. Which, in all honesty, he would. I know MODES like the back of my hand [which, in reality, IS just scales, but in different degrees.] Slightly ranted on - read at your discretionCollapse )

So after I told Ozzi that he'd be better off than me, he said: "Yeah, but you know the whole neck..." and continued to talk about other stuff that's unimportant to this blog.

"...you know the whole neck..."

I was playing bass along to my song, "The Promenade". Not typical bass... using bass chords, making chords, etc. in that field. Then I began to solo. Then, as the soft music is playing, I hear the sentence echo in my mind [only because the song plays with echo the whole way through]. Then I run off and solo Bmaj over the whole neck [cuz if I'm right, the song is entirely in Bmaj.] as I think of that sentence.

THAT SENTENCE IS SPECIAL BECAUSE WHEN I BROKE DOWN AND STARTED BUYING BOOKS, THEY ALWAYS TALKED ABOUT "learn the neck" and "remember the neck" and "fretboard knowledge" and all that jazz. Remembering the scales on the neck & whatnot. All this stuff that used to make me say "one day I'll know the fretboard".

Literally this morning at [approx] 3:07am, I realized that after about a cumulative half year of studying and CONSTANT practice of the little that I learned, revising, editing, relearning [I have 3-4 books on theory, scales, and more theory. List to come], I KNOW THE NECK. Which is why when I started playing guitar, it came so much easier. I just transferred my years of bass to that and it comes easier.

Not to mention that half of my style on bass is "uncommon" bass playing.

[about 3 years of studying from these books. stress on some books more than others]
1. Bass Guitar for Dummies
2. Bass Scale Finder
3. The Complete Idiot's Guide to Music Theory
4. Chord Bassics
5. The Gig Bag Book of Bass Scales
6. Bass Grimoire

The books I have teach the same thing in different ways. So book 1 taught me an easy way to learn all major scale modes. Book 2 showed me the WHOLE neck and confused me. Book 3 just showed me general music theory. Book 4 showed me bass chords - confusing to me. Book 5 showed many ACTUAL SCALES [i.e. blues, pentatonic, harmonic, melodic, etc.]. Book 6 elaborated HEAVILY upon book 5, but in a different way. HEAVILY.

After putting down the grimoire for a few months, I came back to it after just solidly studying the modes that book 1 showed me about a year & a half prior. I went back to the grimoire and it finally made sense after I realized WHAT MODES ARE. All the scales don't have to be played in ONE PLACE ON THE NECK, despite being initially taught that on the internet [the internet isn't specific enough for my questions, because I DIG INTO MY QUESTIONS]. That's where modes come in, and THAT'S what I studied for years now. Once I understood it, I didn't need the grimoire for maj scales.

The only ones I'd use out of ALL of those books, actually, are books 1, 5, and 6; mainly because book 1 explains arpeggios [and a few other concepts that I haven't bothered to study] VERY well, 5 has lots of SCALES, and 6 has scales AND THEIR MODES that really aren't used in popular music. But they are GREAT for experimentation, and I'm all about that. I find my chords because I know my modes, so I don't really need book 4 anymore. Book 3 is for later. Book 2 IS useful, but to an extent. The other books pretty much have it covered, but it just gives me bigger fretboard pics for the scales that are in book 5.

I'm glad I have all of these books, because each one has things the others don't. They all gave me something to help me get to this point where I FULLY KNOW the fretboard. I might not be able to say "this is Bb" as soon as I land on the note, but I don't need to know that to play every scale offa THAT NOTE up & down the neck as soon as I look at it.

Check out my myspace, guys! The song I'm listening to is up there.


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Feb. 19th, 2009 @ 12:56 pm Dub Reggae Bass Tone
Hello Friends

A while back, I posted to one of the three Livejournal bass communities with questions as to how best to achieve a satisfying dub tone. I finally crafted a tone I was really happy with and used it in a live setting. For technique and gear advice, I dug up some Bill Laswell interviews and came up with a satisfying gear combination. The tone I achieved below had a substantial, physical presence. Notes had a huge pillowy organic presence that seemed to blanket the room.

Bass: Fender p-bass with old strings and tone knob all the way down.
Effects: DOD envelope filter FX25 B into a BBE bass compressor pedal.
Amp: Solid state bass head with built-in octaver effect.
Cab: 212 bass cabinet positioned for maximum bass coupling with the room.

My plucking hand technique is carefully controlled and intentionally gentle. When you strike the strings hard, you generate a percussive attack and richer upper-frequency harmonic overtones than when you pluck softly. Such an approach can seem to proportionately rob a note of low-end.

The envelope filter is set to never trigger. It is being used essentially as a low-pass filter. I do trigger the filter on occasion to deliver a sharply accented synthy tone if the song calls for it.

The bass compressor is used mainly as a boost, but is also important in taming the envelope filter's frequency sweep -- it can be quite loud and may cause your amp to clip.

The amp input gain is cranked very loud since the effect of turning the bass's tone knob down and employing the envelope filter as a lowpass filter robs the signal of strength. Low end on the amp is boosted as much as possible, and the mid-range and highs are left flat. Preserving some mid-range frequencies is important to give notes some definition. I used a bit of the amp's octave doubler effect to fill in the bottom end on higher notes and give the low notes a subsonic growl. Too much octave doubler makes individual notes sound too murky and seems to reduce their impact while making the bass sound less agile.

The cabinet itself should optimally be as large as possible. I used a 212 for transportation reasons. Also, position the cabinet in the corner of a room touching wooden walls or a wooden floor, if possible. This will help the cab's low frequencies radiate into the room and provide a boomy and feelable bass presence that dominates the room.

The above configuration can put a lot of strain on your amp and speakers, so be very relaxed and gentle with your right-hand technique or use a good compressor if you don't want to hear nasty clipping.
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Feb. 2nd, 2009 @ 03:52 pm The Clayton Brothers at Southwestern Oklahoma State University - 2/12
The Clayton Brothers Quintet is going to be at Southwestern Oklahoma State University on 2/12/2009! The band members are Jeff Clayton (as), John Clayton (b) Terrell Stafford (tpt) Gerald Clayton (p), and Obed Calvaire (d). For ticket and schedule information, please visit http://www.swosu.edu/music/camps.asp.

Check out The Clayton Brothers latest album Brother to Brother! The album has been picked as NY Times Critics' Choice and raved by various reviews!

Listen to "Wild Man" and get the CD!

-John Clayton Official Website
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The Clayton Brothers