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Why would anyone not use all the tonal variations and fingering possibilities that are available to you?

Had a festival this summer. Quick turnaround time to get on. Had all my stuff ready to go.. Plugged everything in - no sound. Nada. Nothing. 5 mins panicking and then... ..realised I'd plugged into a different amp that wasn't even mine. Oh, you didn't mean that sort of disaster tho huh?

Both of my Precisions tuned DGCF with 45-105's. Im running bi amped and loving the low end.☺

There seems to be a lot of interest in the cost of importing. This topic gives the definitive answer for a single item import from outside the EC. For the sake of example, I will use a Japanese 62 reissue P-Bass priced at Ishibashi at 42,400 yen plus 16,000 yen shipping. The formula applies to imports from the US also: Cost of item: 42,400 plus Cost of shipping: 16,000 = 58,400 converted at Monday's exchange rate ( 0.00498943 )= £291.38 plus 3.9% import duty = £302.74 plus 17.5% VAT = £355.73 plus customs clearance charge - Parcelforce=£13.50, DHL=£20 So the landed cost of this example is £369.32 or £375.73 depending on the courier used. Ishibashi in english ISHIBASHI [url="http://www.excite.co.jp/world/english/web/?wb_url=http%3A%2F%2Fwww.ishibashi%2Dmusic.com%2F&wb_lp=JAEN&wb_dis=2"]http://www.excite.co.jp/world/english/web/...EN&wb_dis=2[/url] I highly recommend IshiBashi. Fast insured deliveries too and much cheaper than buying the 'non export' versions in the UK

The 12th South East Bass Bash will be on Saturday 29 September 2018 At Jubilee High School, Surrey, School Lane, Addlestone, Surrey KT15 1TE The first planning meeting has already taken place! (in a pub) Get the date in your diaries!

Thanks for enquiring. I feel that I am making slow progress , I think it takes a bit longer for me learn new things as I get older. Still, slow progress is still progress.

this does it for me - 2 minute blast with some tasty bass to boot.

My turn to return the favour and chip in then! Here's a 'best of' list preamp DI pedals, in no particular order, put together by me, @dannybuoy and @Lozz196 on another thread recently Dave Hall's new DHA VT1-Pro (there's a whole thread on this; the first one has appeared in the FS section and it kinda does everything (including making the tea)) Tech 21 Q\Strip (looks amazing, but yet to find any BCer who's actually forked out £315 for one of these yet?) Tech21 VTDI Tech 21 Paradriver V2 (Lozz has two of these, he likest them so much!) Ampeg SCR DI (you own - really nice EQ, but IMHO the dirt doesn't come anywhere close to something like the Two Notes?) Mesa Subway DI (why haven't they released a Mesa Carbine M DI? Now that would be a pedal...) Two Notes Le Bass (I have this. Excellent dirt / drive and decent clean EQ but with limited mids tone shaping - need to dial back the bass and treble on the clean Channel A to effectively boost the mids. Only complaint from folk seems to be a lack of aux in. Aside: the Zoom B3n doesn't have a DI out, which its predecessor the B3 had, but does have an aux in! So put together they're fine!) Aguilar Tonehammer (the fabled Aggie sound in a pedal). Several of these (e.g. VT1-Pro and Ampeg SCR) also have aux in and headphones out so can double up as a quality portable headphone practice amp, which is a nice additional feature.

Had to route out for the humbucker and I had a new scratch plate made as I wanted the option to go back to orginal jazz pickup if humbucker did not sound right. Humbucker is actually a Kent Armstrong pup I bought in the 80’s that I previously had in a homemade bass! But as it was the humbucker shone so much that I had to replace the bridge sire pickup as it was just not cutting it against the KA pup. Is the KA jazz / Sire pup standard Fender size? ‘Probably’. I sent Kent the dimensions so it could have need made to order for me but I somehow doubt it and I think that we both just got lucky. Talkbass has people who seem to have put Nordstrang pups in V7s without any drama. Orginal Site pups were fine but never quite made the sound that I wanted. Yes I bought a Marcus Miller bass, but I don’t want to sound like Marcus Miller. ;-).

Pm'd and thanks very much.

Yup I've been thinking the same, Full version or LT. As far as I can tell, the main advantages of the full version are more ins/outs, it also has a mic preamp, the scribble strips, and 10 stomp switches vs 8 on the LT. What I'm really interested in is the ability to split the input signal, treat them differently and them sum them again at the output, I like to use the Billy Sheehan type of sound, where you have 2 separate signals. A clean low end signal with highs rolled off, and then a separate high frequency signal, which gets the distortions / modulation effects. It looks like the possibilities are endless for this sort of thing in the Helix.

Every time I check on this thread I wish I’d bought that wingbass when I had the chance!

Surely no-one still using XP should be on the internet in the first place?

The original bassist in Saxon, played open as much as possible, so the other hand could be held aloft in rock salute! \m/ ?

Everyone has come up with a Bass amp but not guitar, here's your ideal world: why not try these? Saw one at the SW Bash and was impressed... https://www.absolutemusic.co.uk/yamaha-thr10-guitarbass-amplifier.html?source=shopping&sku=yamthr10&gclid=EAIaIQobChMIkdeVhd_P1wIVS5PtCh0SaQxwEAQYAiABEgL5jfD_BwE

G# (13th fret), open E = Double stop. A lovely sound. Then add a D at the 12th fret on the D string, a nice D7 shell. Then of course, all the variations. Open strings are gorgeous for chordal pieces. Fast chromatic runs down low, the open strings can be invaluable and at high tempo, the difference in tone wouldn’t be noticeable. What about tunes played on a four string when a low E is needed? You have no other option, unless you retune. Open strings are part of the Bass gig. At some point in your life, for some reason, there will be a need for an open string, even if it is just for tuning up.

I've been gigging regularly for 30 odd years now and in that time I have had a couple of incidents of amp failure on a gig; it was the same amp that was first repaired under warranty and then later had another issue with the power switch cutting out. In addition to regular pub gigs my band does some private work too, parties weddings etc. so I feel it a professional obligation to be able to get through the night regardless of any technical issues. That being the case I always carry a spare amp, usually a spare bass, always spare stings, cables, fuses etc. Pretty much a spare everything other than a cab, but on the above occasions I was able to plug directly into the desk/PA to get through the night so I could limp my way through the gig without one. Some people might consider this to be a bit over the top but the way I see it is that if you're being paid to perform, whether it is in a pub or at somebody's wedding, you need to be able to deliver the music.

As Nathan East says: Attitude + Aptitude = Altitude. I love that. In this case I would put Passion in with Attitude, because if I love what I am doing I am way more focussed and driven to make sure I am better at it. That's not to say if I am given work that I'm not as excited about, I don't give it my all; This is my job and I have had excellence drummed in to me from my previous career. Thankfully I've only had the fewest of jobs I wasn't so enamoured with, but lets face it, who wouldn't be happy being able to do what they love with their favourite instrument all day?

Half way through our first gig in the first money making cover band I was ever in. Soundcraft desk had a fit and the master xlr outputs quit. We took a short break and set our active stage monitors up as vocal and acoustic guitar PA tops (monitor mixes were working fine). Cranked my wee Ashdown 1x10 combo/Aguilar 1x12 cab rig up and away we went. Guitar player had a Fender twin and was determined to use it! But the layout of the place made things really awkward - 2 long, narrow (about 12' x 5'), raised platforms surrounded by handrails, separated by about 15' of dance floor leading to a staircase (looking from other end of the room the stages were in the left and right corners, dance floor in front with stairs between the stages - designed by a lunatic with no regard for drunk punters safety!). Without monitors it turned into a total winging it session as the Fender Twin was pointing at me from the other stage and was SO loud I couldn't hear the drummer at all (he was also on the other stage!). Looking back if I'd had XLR to jack leads we could have run the monitor mix outputs to the power amp, but we didn't... Fault in the mixer was a 20p opamp. I know because I fixed it after it had sat with "a mate who fixes stuff" for 6 months before returning as repaired (but actually totally untouched)... Total comedy of errors in a venue totally unsuitable for live music. Of course we didn't learn our lesson and played there about 20 times over the following 2 years. Once had to play half the night without the drummer as his kick pedal disintegrated during soundcheck. He had to run home for a spare (45 mile round trip!). Same band (towards the end) were playing in a coastal hotel who'd just had a sound limiter installed. You can guess the rest. Thing had been wired wrong and took out the whole bar (except the gambling machine which always amused me!). 3 times... The look on punters faces when they're bouncing round to "Highway to Hell" and suddenly the noise stops...

At one point it was two or three gigs a week, sometimes two a day. These days I'm on keys more often than not though and just trying to get a band off the ground is proving a trial

I tend to play open strings as often as I can depending on the song and the position of my left hand on the neck. But I have nerve damage in my left arm so the fewer fretted notes I can play the less fatigued my left hand becomes. Needs must and all that.

Ive been playing live for 17 years. Worst i've had is a dodgy cable, and a battery that needed replacing. Never had a issue with amps breaking or speakers blowing etc. I don't recall ever breaking a string either?

I broke a string towards the end of a jazz gig. Not even one of the peripheral ones, but the D. I had no backup (in fact, I was an undergraduate at the time, so I couldn't even afford to buy a new set of strings for a couple of weeks) and had to finish the gig with three strings and a big gap. Shifting hand positions for a bossa was straightforward enough, but trying to play a walking bass line under Autumn Leaves on two strings is not an experience I'm in a hurry to repeat.

2:10 into this video:

I never really saw this as an either/or thing ...

Why not play through headphones? Use your budget to buy something like a PJB Bass Buddy (other gadgets are available) and your Fun Prevention Officer will love you even more than she does already.

There is negligible difference in tone between open or fingered note. The reason to avoid open strings is when it comes to transposing: Far easier to transpose a riff/lick/line etc if all notes are fingered.

Thanks, Dave, glad someone appreciates and understands the mental anguish this is causing. I'll get all my listed and offered at too-good-to-be-true prices and then, once my spare room is empty, hopefully the pleasing reassurance of GAS will return. Your offer of a smart white jacket is noted and appreciated. My size is XL.

Don't think its an illness you have. Good chance you have a chemical imbalance causing temporary insanity. If it doesn't pass relatively soon i would suggest giving up playing bass and send all your bass gear up here to someone who would look after them and give them the care, love and attention they so rightly deserve. Failing that we can offer the use of a white jacket that zips up the back if that helps. Dave

Some can think but not in the right order.

Here are the orginal Limelight pics with the plain p/g.

In many cases I reckon passion beats ability. There are a lot of very successful bands who, when they started out at least, were not exactly virtuosos. Edit: That's my excuse and I'm sticking to it.

But it's got new strings!

... he played all the right notes, but not necessarily in the right order.

""As I've not got much going on today I'll offer a thought. A common analogy for music is often that it is like a language. So, say someone is speaking Chinese and you don't understand it, does that make it nonsense? Of course not, if you learnt Chinese you would probably understand it. It can be argued that it is the same with music. If you learnt and enjoyed jazz vocabulary that is similar to those that influenced Jaco, the chances are you will then enjoy it because you can relate to it. " However, to take that analogy further - you can understand another language perfectly, but still not like what the person is saying.

As I've not got much going on today I'll offer a thought. A common analogy for music is often that it is like a language. So, say someone is speaking Chinese and you don't understand it, does that make it nonsense? Of course not, if you learnt Chinese you would probably understand it. It can be argued that it is the same with music. If you learnt and enjoyed jazz vocabulary that is similar to those that influenced Jaco, the chances are you will then enjoy it because you can relate to it.

My old hard rock/metal originals band played in that tuning. Set of Elite 0.110 Steels and minimal setup adjustment from standard (think I had 0.100s on before that).

I had my Thunderbird strung with extra heavy strings and tuned DGCF for a project where I needed the low D on a regular basis. Band didn't last and the bass is back to standard tuning now.

My Bass Big Muff has finally given up so I have one of these incoming - is everyone still in love with their's?

http://www.andybaxterbass.com/guitars.php?pc=1&cat=1

Everybody needs a shot of R and B, so come on down to my surgery ...

[quote name='AndyTravis' timestamp='1509390989' post='3398581'] ESP's take on a thunderbird was called a phoenix too... [/quote] It's been discontinued, redesigned & called "Stream" now.

A consensus on BC??? Am I imagining things???