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.

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

I don't know the technical details, but my 1966 Gibson EB2 is still close to the original cherry red on the back and a faded walnut colour on the front. (Mind you imho she looks as a 50-year old bass should - and is pure joy to play :-) My 1992 Jazz Plus is a gorgeous metallic midnight blue on the back and just very dark grey on the front. I've tried one of those colour restoring polishes sold for cars and it had no effect :-(

Thanks but I’ve got some MM pickups to go in it

what you like, is what you like

In my experience semi acoustic basses aren't noticeably any louder than solid bodies when both are unplugged. If you want something that has a much louder unplugged sound your best bet might be an acoustic bass.

Good luck! I am looking for a squier vintage modified precision tb to do a similar thing with.....i think!

I'm only a bass guitarist myself, but I love and appreciate all things bass ...Apart from the left hand of a keyboard player.

^ this. My first thought for low-mid priced would be the Squier VMs - they do a Jazz and a Precision, but the fret lines are standard. On the other hand, I know from experience that you might be able to pick up a second-hand Warwick-Rockbass Corvette for not much more, and that likely have a blank board. Gibson-style fretlesses seem to be like hen's teeth from what I've seen. Short of a stroke of good luck, I expect you'd have to look into a custom job for a fretless SG. Though, speaking of custom jobs, you could always nab yourself a loaded Jazz body and a fretless neck to bolt together - you could probably do quite well off Fleabay without having to spend too much.

Buggrit, I'm going to bend the rules: Korg Pitchblack+. Yep, I know it's a tuner, but the "+" model is also an A/B switch. On the occasions when my pedals haven't made it to the venue, this has been the once I've missed the most - I can trust my guitars to keep their tuning reasonably well during a set, but most gigs really call for a 4-string and an 8, and having to swap leads around between songs is quite a discomfort in the fundament when you're trying to make a set run smoothly!

Oooh, I think it would be a toss up between two Stones songs 'Torn and Frayed' or 'Can't You Hear Me Knocking'. Neither of them suitable for an audience who just want to hear 'Brown Sugar', but I always loved playing them with one of my old bands.

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.

Nice work, Lowdown, that's exactly what I needed. Does he also do a transcription of what my bandmates actually play?

I was just answering the question on which filters I decided to hang onto, not the general thread question! And @Breadbin, do tell everyone how amazing the big box Q-Tron is so that they can buy mine. Unless you need a spare?

Alive by Pearl Jam, one of my favourite songs to listen to ot play.

I found one eventually, and it arrived last week. Unbelievable value for money!

Isn't getting soaked par for the course in Manchester? I used to work there so I know what it can be like. I tried one of those plastic poncho things the other night. Looked like Quasimodo wearing a wigwam, but the bass and I both stayed dry. I did have to stretch the back before putting it on though, so that the head of the gig bag was covered.

Surely you mean tw@ ch@

Latecomer just added: SH73

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The non-Fender is probably quite a playable bass....

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

They'd only allow you to join if you could type with both hands at once.

The Thrill is Gone. Probably because I've played it with Victor Brox, who played it with BB KIng. In B-flat minor for Victor's trumpet, which he plays right-handed while playing keys with his left. I play a walking minor 7th line with a lot of sustain, love the sound, but also the memory it always brings back of being so close to true greatness.

It sounds like the soundtrack to a yahcht sales video. Guessing that’s the 80s production.

I used my Rumble 500 combo for loads of gigs and I was always happy with the sound. I then went on a mad quest to look at Heads + cabs as I thought that would give me more flexibility and tried / purchased different combinations from supposed high end makes but basically struggled to get the tone that I wanted out of most of them. I’ve finally decided to go back to the Rumble but tried a Stage 800. I know there’s a couple of hundred quid difference but I’m really happy with it. Key differences I’ve found: The Stage 800 is much, much louder as a single cab (combo) than the V3 500 The included footswitch is a nice touch and very useful for presets, tuner, etc I kept the silver cloth speaker cover from my old V3 and it fits the Stage 800 perfectly so matches by 2x10 extn cab (apart from the silver corner protectors) The modelling is actually quite fun and whilst I’m not sure of how many of those I will use, it’s great to try out the options and load them onto the foot-switch. Plus the compression is quite nice and you can manipulate the effects and sims quite a bit (it’s like having a Zoom B3 built in) So far, I’m really impressed with it. All the things that I liked about the V3 plus a load of extras.

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

You can try to prise my V3 500 from my cold, dead fingers. Love it

Marco Bass SC prototype, Crescent Moon fretless, BSX Model 2000 EUB.