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I can see how megastars like Adele have to put a 'no contact' clause up. First couple of times people want to chat to you it's fine - but after the fifteenth person wanting you to ring their mum and do a verse of Chasing Pavements down the phone you're probably pretty tired of it so you say no, and then they get upset because you were OK with the previous fourteen people asking you for it and go tell everyone you're a beach. Eventually you figure you may as well be hung for a sheep as a lamb and institute the "no speaky unless spoken to" ban so they'll leave you alone. Then you go slowly mad through isolation, build a theme park in your back garden, invite a bunch of pre-teens for sleepovers, and your nose falls off. It's a weird business.

Yes, we've never had it so good, record employment levels etc.......stinks to high heaven. Rant over.

Here you go. Bypassed, GEQ 50Hz -12dB and multiple AC BS Pres

This thread is not helping with my waiting period! 😀

No mention for J&D? https://www.musicstore.de/en_GB/GBP/Jack-Danny-JB-Vintage-1975-BK-Black/art-BAS0004370-000 I paid £119 for mine (brand new) about three years ago. OK, I've made a few mods, but the only one that wasn't purely out of personal choice was the pickups. One of the originals developed a fault so I put some Toneriders in. I still gig the bass, and until I got my Maruszczyk (in December) it was my first choice, go-to bass. Seriously good value for money and one of the nicest necks I've played.

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You gotta make them road worn

I’m focusing on the giant subwoofer the stool is on

A limp what?

Oh, and be sure to use the same gauge for each shoe or you’ll get a limp.

Lace them up with a set of flatwounds and you’re done.

Some really good contributions in this recent thread if you fancy a skim through - I found it very helpful. Lots of really good points were made in that thread, but I'm going to call out and draw your attention to @51m0n's posts in particular, as being just excellent! This one below from him pulled a lot of thoughts together and I've quoted it in full, because it's so worth revisiting: "And he we are again, what are transparent compressors good for in a pub band? Not about to try and teach anyone to suck eggs, if you know this stuff, sorry for the post, if you are not really interested please skip it, if you want to know why a compressor might help you in a live situation when it apparently 'does nothing' or 'kills my dynamics' then feel free to have a read. It's like a very cut down compressor 101 chat I gave once, which some of you are still scarred by..... Originally compression was supposed to be a transparent tool to prevent an engineer from having to ride a fader throughout a take or a mix. All it was supposed to do was keep that level more even - as often as not by just slightly modifying the envelope of the input sound, hence the attack and release control. And with VCA compressors they pretty much achieved it. But before VCA compressors there were Vari-mu compressors (real tube compressors), Optical compressors and FET compressors. All these types have pluses and minuses, they all have different attack and release curves all of which do more than just transparently alter volume and help out an engineer. On top of these types of compressor there is tape compression and and amp/driver compression - no driver is completely compression free when you push it hard, no amp is compression free when you push it hard, all overdrives and distortions and fuzzes are also compressors, just totally not transparent ones. The best ever compressor you will ever experience is the pair you have strapped on to the side of your head all day. Yes your ears/brain are simply the most powerful compressor you can buy. The quietest sound you can hear is equivalent to your ear drum moving the width or a single molecule apparently, whilst the loudest sound you can hear before deafening yourself pretty much instantly is hundreds of thousands of times louder (you need to look into the way sound pressure level measured in micro pascals and decibels work as units of measurement). That amazing set of compressors on the side of your head has an unfortunate side effect, without a direct reference you are almost totally volume blind, small changes in volume are beyond you to describe, you can not reliably perceive them. Unless they are compared to a level that has not changed and is not changing. Obviously bigger differences are easy to perceive but the differences that can make or break a mix, if you aren't listening to the the mix happening at the time, nope, not a hope. So a deliberately transparent compressor you can't hear working on your signal in isolation, until you are doing way to much with it, and that's about when you feel your dynamics disappearing, because you are doing huge amount of compression in order to hear anything much at all. In a mix way less compression would be 'enough' to change the envelope of your signal to make your instrument be easier to hear, but you aren't in a mix so in order to hear anything at all you put way too much compression on. Thing is, a studio engineer has the time and choice to select the right type of compressor for the particular part of a track he/she wants it for and then set it up just so. What it does to an instrument in a mix then is help prevent 'masking', this is where the envelope of the signal drops in such a way, either because of the player's technique or their instrument or their preferred tonal choices that some other instrument makes it hard to hear when it plays at the same time. Near the end of a mix when two instruments are masking each other I have found that a change of as little as 0.1dB can sometimes make a real difference to the way a pair of instruments sound in a mix. Back to live then. If you are trying to use a compressor to help you be heard in a mix you need very very little for it to make a difference. If you are using compression for a definite effect then you may need bucket loads. If you like your tone as it is but feel you sometimes 'disappear' in the mix and are constantly turning up, then a transparent compressor, set just right, could be the answer to the fight. But you need good critical listening skills, you need to do this 'in the mix' unless you have great metering on the pedal to help you out otherwise you probably will put too much compression on the sound in order to hear it happening. Compression is difficult to master when you are in the safe space of a mix down with no distractions and lots of time to experiment. In order to make it 'easier' to use many pedals have no 'confusing' metering and not all the required parameters to really control the compression. This is a double edged sword, no metering and 'doing it by ear' are nigh on impossible with a transparent compressor unless you are setting it up in situ in the mix. On the other hand a full featured compressor is waaay to complex for an average bassist to get the best out of, and also remember that little detail about setting it right for a particular song? Well you cant with an always on compressor, so you have to set it to help you a little bit all the time, and that's another skill. Ultra low ratio (1.5 to 1 even), very low threshold, slow-ish attack (50 to 80 ms) and fast release (less than 30ms) giving not more than 3dB total compression on the loudest parts is probably a good target for a general touch of compression type of setting on bass live IME. No you can't really hear or feel it if you are just playing solo (don't be concerned if when playing normally the 3dB light doesn't light up at all, you are still getting some compression if your threshold is set right). In the mix you will be easier to hear, whether you are a loud or quiet band. Not because of tonnes of compression but because your individual note envelopes are changed just a smidge so that the post transient part of the note envelope is a touch louder than before. Hope that makes some sense, probably not though "

sh*t happens in bands......keep at it and something good will turn up!

Heaven- you can hear bass in Iron Maiden albums Hell- Lars Ulrich instructed that bass is muted almost to the point you can't hear it in ...and justice for all

Here's the update ... The head went back to Orange and I've just had an email from them saying that they've fixed the issue. Here's what they've said (I'm assuming that the issue would have required a little soldering and wasn't just a badly seated valve as I'd tried switching them out/reseating them a few times before I sent it to them): I've paid them for labour and shipping but so far this seems fantastic customer service. I'll post another update once I get the head back.

I had one, can`t remember which make, was great, took two Precisions comfortably, neither could rattle against the other as two nicely separated compartments. Was a really decent bag, very strong & durable. But............... I was just too weedy to carry it. Great idea, for the fit & strong. For me, a case in each hand works better.

There, you've gone and done it and totally undermined your rational sales strategy! Afraid nothing further I can do to help and Mrs Lukin will not be happy with your gear jus' lurkin' around the living room 'cos you can no longer shift it...

It's going to be either LPB or BM for me, but the green is ooft. So it could still win out

Boots; where else..? (OK, maybe a car boot sale..! )

@Frank Blank you’ll only know if you play it! If you can get a refund, I would get a refund, use the Chowny on order, or whatever else you have to see if it works. if it doesn’t, then get an aerodyne either new or second hand, or something else nothing lost!

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I think that's really down to the amp's EQ. I like a quite thumping bottom end, but I was rehearsing yesterday and the band felt it was too boomy (I was using the rehearsal studio's amp and cabs) so I wound down the bass on the amp and boosted the upper mids, it then had bite to spare. And that was the LaBella equipped Precision, played with fingers. In fact, for my taste, it was too toppy, so I'll take my own amp and cab next time. So even a 'bassy bass' like a Precision with LaBellas on it can be made trebly. I think the LBs excel at producing a warm mid range that sits well in a live situation. Yesterday's band was a 6 piece, with two guitarists, keys and 2 drummers in addition to my bass.

Definitely worth checking the returns policy and condition it needs to be returned in to get a full refund from the place you bought it. I've returned a couple of basses in my time: a Warwick Rockbass that was about as meh as they come, and a Yammy 1025 - which I've since replaced (they are a great bass!) - that came scratched beneath the varnish; got a full refund no Qs asked in both cases. But provided it doesn't risk you getting a full refund (which it shouldn't), for sure play the thing! There was a reason you decided to buy it in the first place, right? I've never been a fan of Orange amps and cabs. There are plenty on this forum who love them. It's what works for you: at the end of the day it's all about making music. @Jus Lukin Enjoy the Rick, starting to appreciate why you need to be selling your Markbass gear to fund it... The Mondeo doesn't seem to be selling so well these days...couldn't find the total UK sales in 2017, someone else may be able to enlighten me. 1) Ford Fiesta 94,533 2) VW Golf 74,605 3) Ford Focus 69,903 4) Nissan Qashqai 64,216 5) Vauxhall Corsa 52,772 6) Vauxhall Astra 49,370 7) VW Polo 47,855 8) Mini 47,669 9) Mercedes C-class 45,912 10) Mercedes A-class 43,717

It's only the handle rattling 😁

Have a new camera to try when I get home tonight.

Looking good!!!

Dammit Karl...stop making me spend money! Got 10% off as well...paid for the P&P lol! They better be as good in real life else I'll be up the M6 in your general direction!!!

COG T16/Hammond 1590a might be a stretch for anything other than a fixed HPF... at least for me... Never built anything in a 1590a! Now might be the time though!

Beat me too it!!! 5 string and tort and I'd buy a pair.

Shouldn't that be tort with sunburst?

I have recently strung one of my Precisions with LaBella 760FS flats, the others are strung with 50-105 Chromes. I would say that the LBs are slightly lower tension, but there is very little in it. The Chromes are a lot brighter (in sound, not shininess!) and my now 2 month old LBs sound more mellow than a set of 10-12 year old Chromes I am still using.

No, better for sole.

good for metal?

you could try 105's as your E string, they'll be a tighter tension, I've never had this trouble but mines a MIA with high mass bridge and grooves for the string

Yeah. I've found that keeping your teeth in the glove compartment of the van on those long overnight drives never endears you to the younger members of the band.

The new Little Marcus could be very interesting in this respect, as it has different EQ points EQ1 ULTRALOW: Level ±16 dB (Freq. 65Hz) LOW: Level ±16 dB (Freq. 180Hz) MID: Level ±16 dB (Freq. 500 Hz) HIGH MID: Level ±16 dB (Freq. 1.4 KHz) HIGH: Level ±16 dB (Freq. 3.8 KHz) EQ2 OLD SCHOOL: Variable LOW PASS From 20KHz to 200Hz MILLERIZER: 5-12 KHz BAND PASS Filter (Level 0 /+10 dB)

I like Barefaced Cabs, but if weight were not an issue I'd use Markbass cabs. I love 'em. If they are guilty of colouring one's sound, then it's a colour I like. I've used Markbass rigs a lot as backline and I'm always pleased to see an MB rig because I know I'm going to be heard, I'm going to hear myself, and I'm going to sound good. So I play better. They're relatively expensive because they're well-built. They're not actually that heavy, either - only when you compare them to boutique, ultra-lightweight cabs. I'm a fan of Markbass combos, too - the 1X15 combo in particular is fantastic. I have a theory (possibly insane), that bass gear manufacturers know that a large percentage of their customer base never play outside of their rooms and tailor their products accordingly. Markbass may sound a bit flat in your bedroom, but at a venue they really kick it out and sound very punchy, articulate and lush at battle levels and 'in concert'. OK, I'm done!

Holy Mother of God, this plus about a billion. Very fortunate at the moment to be playing with a pro drummer who is just on it the whole time. Makes my job a delightful breeze. But when you get a drummer who is, er... less than stellar, it makes bass playing a dreadful, miserable ordeal. Obviously trying to migrate to Europe in a flimsy rubber dinghy with no food or water after your family has been killed by government forces is a lot worse, but we're talking bass playing here...

Just to clarify, I've got a USA Hamer not an Indonesian or Korean model.

Well I had the pleasure and privilege of trying out one of these last night: And A/B'd it against this very bass: First impressions were that the 12 is richer and fuller and why on earth had I ever been thinking of an 8?! Second impressions when exactly the same riff was being played on both one after the other by @Wolverinebass and me listening carefully was, 'hmmm...actually that 8 is pretty darned good' and likely to be easier to play well for me! I guess (and maybe this is pretty obvious to others) but the 12 string bass in terms of sound alone (not playability) is like playing a normal bass + 12 string acoustic guitar whereas the 8 is like a normal bass + 6 string acoustic guitar. A 12 string acoustic has that lovely additional fullness and richness of sound. But there's also a reason why most folk play a 6 string acoustic.

I'm having serious trouble deciding... I love all three for different reasons!

Got my pickguards back from Jack’s Instruments. I have a lefty medium scale 32” P bass in vintage white. I couldn’t decide between a tort and a gold anodised one so got both. Superb!

Just shipped one of my old Jazz basses to Geert. since he did not like the it, it was returned and we cancled the deal. it was shipped back without problems Regards Brian

That looks pretty good NJ. Does the stain stay put well when dried, no chance of sticking to moist fingers?