Leaderboard

I knew a guy like that. He used to (annoyingly) put his cases behind him on stage for easy access too. Whilst I'm all for a reasonably smartish get out of a gig, I really don't get what the rush is to save a few minutes afterwards, and it can give the wrong impression to bookers if the band are rushing around as soon as the last note has died away. Our band used to call them 'Doris Day' gigs ( quick pack away, quick pack away etc.... apologies to younger BC ers.)

Got an Update..and thanks to all your advice which I passed on to him, he stuck to his guns and has got the dealer to agree (very reluctantly) to swap back the guitars on the proviso that he pays £60, 30 quid for setting up the chapman before he advertised it on his FB page and £30 to put back the strat to its origional set up when they re-swap guitars, seems a bit harsh but I told him probably best to bite the bullet on that one and just get your axe back. Thanks for all your advice folks, love this forum, helped me out so many times

TU-3 I typed that slightly tongue in cheek to begin with, but actually, thinking about it, it's truly the only pedal I would be uncomfortable performing without!

Just having some goofy fun here.

He he! No, it’s all good! There’s nothing like a good geek out Unfortunately yes it has been tried and tested. The possible solutions just had me moving away from my desired ‘base tone’ so the MS came off my board. Yes I could replace my EMGs.. but I’ve been using them in my basses solidly for about 20 odd years because of their (imho) tonal benefits.. one being a huge output level. Oh and yeah, a small thing with being an EMG Artist now *chuffed!* ok, so why isn’t it an issue? Well, your Nords aren’t active pickups and are likely to have a lower output level in comparison. So you could say that I am in the minority simply because I have that high(er) output than the average bassist. I use that level to drive my... err.. drive pedals! Although you could now argue that it’s less of a requirement if I am plugged directly in to Helix, but EMGs are just superb sounding pickups when set up properly and I don’t wanna change them out.

For my playing... I'd have to say an envelope filter. If you ask me today, I'm saying the MXR BEF. Tomorrow might be the robotalk 2 Day after that my mini mu..... Revolving doors.

I really wish they'd do a version with the possibility of changing/extending the bands.. maybe making them semi-parametric. That would be a killer pedal.

There was nothing happening to your left.

Find a Cort B4FL. Unlined fingerboard, Bartolini pickups and preamp and great build quality. Also very light and plays beautifully, great mwah.

This is why compact cabs for bass guitar are much more difficult to design than most people think. Not only do you have to get your sound to the audience (assuming no large PA), but you also have to get the sound to the player's ears when he's standing one to two metres in front of the cab. And the sound the audience hears should ideally be the same as the sound the player hears, for obvious reasons. Most players, I think, recognise the limitations of their cabs and live with them - and angling always helps the player to hear better (but not necessarily the audience). You can more or less tell by looking at the driver configuration whether a cab can pull this trick off - and most don't come anywhere near. So you have to stack a second cab on top of your first so that you can at least hear yourself. When you do that you get cancellation between the cabs at certain frequencies, which affects what the audience hears - and so on. No wonder people like in-ears!

Yes I think he has learned a lesson, don't swap a £350 chapman for a dodgy bitsa in the first place!

Can't speak from experience re the mechanical issues, but I have had Basses where there was a distinct 2 tone effect (not the music genre): the top half of the neck has been exposed to sunlight and the bottom end has not and 'shading' has occurred. From memory it was a poly finish and was the rear of the neck.

I think you are making it sound harder than what is, Scalpy. It’s actually very structured and disciplined. The arranger, Peter Newberry transcribed it down to a tee. His scrolling score is below. GM midi sounds, but the notes and time signatures are all there.

Nancyraygun are you still in the room? Anyway, here's the thing all other things being equal the efficiency of loudspeakers is proportional to their surface area, doubling the cone area gives the equivalent of doubling the amplifier power. There is nothing magic about modern speakers just a gradual improvement in materials and engineering which enable you to squeeze a little more sound out of a modern drive unit. The state of play at the moment IMO is that you can just about squeeze enough sound out of a single 12" cone to match a drummer, so long as you aren't demanding anything unusual in terms of boosting the bass. The Barefaced designs along with loads of others takes advantage of this and the ultralight cab helps a lot with portability too. If you are still reading this thread then I'd recommend you think in terms of buying a couple of 8 ohm, 1x12 cabs. a single one will do for rehearsals and small gigs and adding a second cab will double the efficiency and increase the power from your amp giving you a real boost in sound. It means a single journey for smaller gigs and a return trip for big gigs, though I do sometimes manage two light'ish 1x12's, amp and bass as one lift if the route from the car is straightforward. I think you should be fussed by tone though, compared to speakers amps add very little tone of their own and changing your speakers will change your tone more than changing your amp. I'd go out and try as many speakers as possible, preferably with your own amp.

It does until someone asks you to play it. Then it dawns on you.

From some of the conversations in the OT recently, I'm waiting for Tw@t Chat.

Yeah, those early YJ albums had some lovely, groove playing on them. Harmonically, the tunes were interesting & very rich sounding. BB5, I know you are into Piano playing as well, check out this short Russell Ferrante video on stacking/poly chords. It gives you an idea how they got those themes and chord structures.

Yeah it has the Crass logo but it was from San Fran...still unsure as to who owned it. Grabbed it because it was just too cool...

Done

I got a V3 500 Combo recently and really like it. Great sound, pokey, and very reasonable weight!

Thanks, will give them a look. I quite like the natural look in this but just because I am looking at it a lot. However, I have never liked a natural wood bass on the long term, I think it goes back to my original Pine Kay! And anyway, how can you have a fireman that isn't red?

I have to say I'm a lover of synth bass, groups like "Infected Mushroom" and "kalya scintilla" really speak to me because of the heavy neuro bass. Some of the sounds you can achieve with software like Native Instruments' Massive and Image-line's Harmor are out of this world! Like Dolby sub tests meets Michael Bay transformer noises!

Ha ha! If only

I could probably be talked into losing the board, so long as I keep my Tech21 Sansamp VT. I've recorded with it, made studio practice amps sound good & generally just leave it on if I'm playing. This one pedal changed my whole viewpoint on bass effects.

Shame the Billy Sheehan signature is a signature as it might put people off who don’t want to “poodle-noodle” its a great pedal. Anyway I was about to list by desert island pedal but I changed my mind as I was typing...

Couple of East London/Essex covers bands I worked with - when they turned up at a venue and realised that either they were slightly unsuitable for the booking, or the place was a dive, they'd talk about doing a Go Go Fo.......... Get on, Get off, F*** off.....................

Uncle Albert from only fools and horses makes a cameo to your left.

The one pedal that I've always had on my board is a PSK SDS-2 distortion. It's a cheap 80s dirt pedal (made of plastic too), but it adds a great bite to the sound. If I could have any 1 pedal back, it'd probably be the Moog Bass Murf (well, I'd probably opt for the midi murf).

If we are talking about which box on my board would stay, it would have to be my Line6 receiver, although its not an effect. Without that no one would hear me lol. Seeing as ive brought 3 BDDI's over the past 15 years, im going to go with that as far as pedals go. Nothing else ive owned has managed to stay the distance, and ive been quite happy using just this one pedal when im too lazy to take more (pre-board days though).

I've just noticed that Bax Music has 10% off this Sunday and Monday, just use discount code KA518. It's not massive but if you've got your eye on something it might help make your mind up.

Thank you for your comments, it's always a pleasure to read your valuable contributions. Yes I did follow the Simple 12" thread and had it not been for some family matters that scuppered my plan to be at the Bass Bash I would have been able to see the assembly in the flesh. The video is excellent! After you & Stevie helped to sort out my early issues with chuffing & cab tuning I have fallen in love with my two Mk1s. They deliver exactly what I desire and used in different combinations with my other cabs cover all my venue needs.I don't think Mrs DaBass would allow anymore cabs in the house as the One10 had to be sneaked in while she was out shopping.(One10 is quite easy to hide under the bed next to last bass I bought without her knowing). While the idea of a more coloured smaller 12" cab is appealing I going to stick to what I have at the moment.The Mk1 is truly an excellent design and out performs many, many big brand offerings. Thanks to you and Stevie for improving the lives and sounds of many bass players. KEEP UP THE GOOD WORK!

It's a great envelope filter, funk in a box if you will. I like to combine it with distortion for interesting synth-like sounds.

It would probably be between my Aguilar Octamizer and Mr. Black Fwonkbeta. The Octamizer edges it though. It was my first pedal (not counting the 24 hours I owned an EHX Micro POG before promptly returning it) and is truly the sound in my head when I think of octavers. I realise that may be heresy to the dedicated OC2 heads out there but so be it. If my pedalboard were lost or stolen it would be the first thing I bought back, no question.

A good compressor. At the moment it would be a Cali76 Compact Bass, but that could change. I would have picked the dUg pedal if the compressor could have been on without the rest of the pedal being activated. The compressor in it is nowhere near the Cali, but it would have been more versatile overall.

My ‘right now’ pedal would be my Tech21 VTDI. I used to just use it as a separate EQ for slap work with advantage of a DI should I have an amp failure, but now it’s on all the time and is the base of my tone. Could I gig without it, yeah, for sure, but it sounds so much better when it’s there.

Typos now corrected.

The stand I use is the one recommended by Dood https://www.amazon.co.uk/Stagg-14708-Short-Amplifier-Monitor/dp/B002MUGL2W It folds flat ( almost) and angles the cab up to my ears nicely. The Nifty DIY bracket is simply made from three pieces of 9mm or 12mm Plywood. The top piece is cut the same size as the amp and four holes are drilled for each of the feet. The second piece is 25mm wide by 140mm and third piece ( which acts like a Claw sitting under the cab handle) is 140mm by 90mm with the corners removed to act as a guide. The three pieces are glued and screwed to form a 'Claw' over the handle of the cab. Four large rubber feet are added and some Velcro to the top of the bracket and underside of the amp to provide added security. It works a treat for me! The angle of the cab and amp is directed up so I can hear myself and provide easy access to the Fender controls. The air shifted by the One10 really flaps my flares ( sorry being a Child of the 60's & 70's the flares still just fit but now have a neat elasticated waistband installed to compensate for the beer belly!!) So my Fender Rumble Combieeee is just right for me.

Hello, i'd like to thank everyone for helping me find my bass. Luckily enough, someone following this thread had the exact one! Thanks again, Jack

Here's another hack edit I did for the band I was depping with last night. Q4n out front (also providing the audio), Q2HD covering the drummer (poorly placed - lack of a flip-out screen is a problem here). It's canny for a quick job.

I can’t bring myself to replace the body on this P bass This was the first bass I bought when I decided to start trying to play again For a cheap £25 unbranded bass it plays and feels really nice So this is now going to be a new build instead I’m going to try and do this as a 5 string thru neck so I’m gonna need some advice when I get round to starting it

Excellent suggestion above. These look less classy than the Maruszczyks but I swear by them. Most comfortable straps I’ve ever used - now I won’t use anything else: http://www.bassdirect.co.uk/bass_guitar_specialists/Comfort_Strapp.html

In theory, yes you can, but in practice it would not be a good idea. Jack sockets for speakers are fairly robust, and may cope with 500W, but jacks intended to switch signal inputs tend to be more fragile. A better solution might be to install a double pole two way switch and switch the amplifier output between the internal speaker and a speakon or jack socket. Speakons are designed for that job, many jack sockets are not. David

Slinky on every level and a fine bit of Bootsy dirt groove on this old classic 🤩

Hello, I am the aforementioned Mr. Johnson. I don't know if anybody is following this thread but I'll straighten out a couple of things. I run a workwear shop in Seaforth, not a garage in Waterloo. Gary Daly played the bass on the original recording of African & White. The fretless playing on Christian is by Andy Pask, of 'Landscape' (Einstein A Go-Go, also the co-writer of the theme from 'The Bill'). Although I played it for so long I feel like like it's mine, it still makes me feel very emotional as it brings back some very sad memories. I joined after the release of Difficult Shapes and the first thing I recorded with the band was Tragedy & Mystery. And it's a Warwick Thumb 5-string, my hands are too small for a 6-string, and I still use it to this day in a pub band at the weekends. The drummer calls it The Throb. Thanks for listening. GAZZA.