deepbass5

You Ole Tarts fancy getting whizzed and trowing up on the bus on the way home. Tut tut Ahhhh Sunfly Steamroller Kicking Chicken Mayfly Prism 10 pints and 4 shorts then stagger to Gloucester green and hope you haven't missed the 10:30 bus home

Back to the topic in hand Leo was a radio engineer he knew people in the business, musicians and studio engineers. He also made the Fender bassman to compliment it and the 15" speaker did the business over other bass makers using guitar amps. He gave them away to the right people so word got about. Lionel Hampton insisted his bass players used it rather than the upright. He was a business man and simply made a great product and got it seen being used by top artists. Ampegs, Gibsons and Ricks slipped from view. GAS was born.

Now that i own a CS fender P bass i have to say the reason they have the potential to be better instruments is because of wood selection, good seasoned tone woods e.g quarter sawn neck blanks is where all the money is for me, I also have some custom made five strings they are good for the same reasons care in wood selection ,that when constructed with care will sound good. It is sat beside me now - if i pick it up unplugged and play "My Girl" it is a 62 P bass, that sound is there unmistakable so has to be worth what you would pay a luthier to construct any bass for you circa £3K Having owned a 77 P bass Oly white maple neck ( heavy with slight D dead spot) this is in a different league, so for me a quality controlled CS wins over say any 70's bass priced just because its getting old

For me Swamp ash body + 1/4 sawn maple neck as per the Fender CS range made that way because is the best, this of course means graphite and woods like Wenge are also very stiff and resonant so cant be ignored lets not get into effects of strings, pickups and set up on your fave wood combinations 😁

Me too It was glued in as photographed, the dark grey ring inside the coil on the magnet housing being the glue, this coming off and twisting round did the damage. Just wonder If this has been re- coned in the past Or maybe Eminence have adapted a model where this does more to help move air to help cooling, the four holes must be for something. Anyway sounded great last night so if still good at Thurs rehearsal, it will go to the Friday and Saturday gigs

Was at a jazz jam last Wednesday and rather annoyed to discover a farty speaker that was fine on the gig Saturday then noticed the dust cover in the center was ripped. I thought something must have been poked in the grill at the gig but on getting the grill off at home I noticed what looked like a piece of wood up inside the coil behind the cover ?? Knowing it was curtains decided to cut out the center to see if i could remove it and do a repair - nothing to loose. anyway see pictures there is a piece of machined cardboard the stuff carpet tubes are made of with four pillars as though this should house something, I thought it must be a guide for the moving part of the voice coil but the tolerances were too great to have any effect for anything like that, it was clearly once glued to the magnet structure at the base of the voice coil and had broken loose ripping the center. As i could not see what the hell it was for I tissue papered the dust cap and after some PVA glue and careful positioning stuck it back together. I 'm please to report it sounds just fine - big test at practice levels tomorrow night It ain't pretty but is functional, that'll do me just fine. Note. this was a 350 watt 4 ohm 12" Eminence

I may be 6 months too late for this but Love Padauk It is quite an oily waxy wood when new and may retain some of these properties so may not stain well I would go for a fine wire wool ( not Plumbers) rub it back to base and re oil it as you would a neck. Should look great again

Worth noting ref Mesa amp gig bag Having done an out door festival gig this Sunday and trudged through the driving rain with amp over my shoulder back to the car, I was alarmed last night when luckily I decided to change batteries in my tuner and found the wires in the pouch wet I then opened the Amp side and it to was covers in moisture and damp. I could have easily left this soaking until our rehearsal on Thursday So beware these bags are not weather proof lads

Sunday festival gig. Don't talk to me about Mud. I've got a pain in all the diodes down my left hand side

On one Masonic Ladies night, a women got her heel caught in the dance floor and went straight over on her back and her dress flipped over her head 😺 And I thought - that looks like a beaver She laid there for ages till her friends picked her up, psssst as a fart

The old Peavey 15x 2x8 cab did just that, you had jack sockets one for full range so you amp would drive all cones and the then others for bi amp. jack sockets for bottom 15 and one for tops The jack sockets have opening contacts on one side so when a jack is inserted it can open the contacts you do not want to drive. you could add this but would mean moving away from Speakons,

Dragonlord 👍 Thats what I do, always leave it set to 2 ohm, This was explained on the American site by the Guy who worked on the design I only have two 4 ohm single 12" cabs rated at 350w a piece, run one most of the time low volume gigs and rehearsals, No probs, larger gigs just add the second cab giving me 2 ohms as phil said just be sensible and not over do the bass end.

yah that sums it up The amount of times we have had some drunken idiot fall into the band is unbelievable. The worst was a bare knuckle fight by an entire rugby team at an Irish wedding, shirts and morning suits ripped the lot. tables and drinks flying one guy landed on my floor cans completely squashed it flat. But I would still say that Auld lang syne is the main culprit you then get at least three or four on top of you due to monitor placement

Walshy 😂 Thats a bit - Crocodile Dundee - "No this is a knife" So that doesn't count and your fired.

Yah hate it when pinned between a cymbal and a wall or PA cab smacking the bass on things and ya cab is a foot behind ya knees. Always use my trolley board to get the cab off the floor and position it at an angle away from the back wall, the drummer will say "are you leaving that there"

Police Squad - mentioned there about playing with a mostly flat EQ. I am as guilty as the next for always setting a cut in the low mids before playing a note or checking the room acoustics, habits may be depriving us from discovering a better sound on offer. I often think back to playing with a programmable effects unit. Set all your sounds up at home and surprise surprise get on stage its all over cooked and unusable. I'm just plug n play now.

Just thinking about my set up over the years, how it has changed for better or for worse. when do you know if the bass you once loved that is not talking to you as it did, is due to that new amp or cab that just arrived. Or have you just fell in love again with an old Axe that now sounds great with your new Cab. Someone posted a video on here of a Luthier talking about how many different things can detract from the ultimate sound potential of a bass. Tone wood, nut, bridge etc. But imagine adding in all the other sonic detraction's, without even touching on gain and signal paths, cables and strings etc So have any of you found the magic combination, A bright cab that helps a dull bass, or an Amp with EQ centers that compliment your bass and Cab. How many of us heed that advice and take our bass and maybe our cab with us when buying a new amp, or bass and amp to buy a cab Do we often throw the baby out with the bath water, and sell on gear without analyzing why we are out of love with our sound. Over to you

I have also owned The GK MB fusion 500 along with a Markbass LMK as my duty standby amps, Markbass always got the Gig then, but loved the GK for jazz and warmth for low volume gigs, it was easy to get a very nice sound thick warm tone but for pop function covers found the EQ took too much out in the wrong places, the fixed freq's just didn't hit the spot for me. the Subway 800 was better for louder pop covers, had the bite a edge but had fewer features still. Having sold the GK and the Markbass I was now 100% committed to the Mesa, but missed features on both the others. Then an 800+ came up and it is like a different amp. So would now vote for the Mesa 800+ over the others with Mark bass next

The above picture of the higher register notes fretless has been done successfully on other basses, but what you original suggestion of returning to frets higher up would just choke on the frets above the action would be very awkward, I have often considered a custom bass with just frets to 5th or 6th similar to above but wonder if it would be best to just get a fretless and done with it. There are bound to be others on here who have part de -fretted.

I think they are all miming. Probably asked Mr Alpert to appear. then thought it was a good idea to use the Village People to mime to his backing track for the session

Totally agree with Casapete we should all push back a bit with these venues, and ask to see their periodic testing certs for the venue installation . best have your paperwork in order first though. I have seen many bad things in the last 30 years that the venue expect me to plug into. In our bands conditions of hire, I state that we maintain the right to refuse to play should we find the electrical installation to be in a dangerous condition. I state that it should be maintained in a safe condition and correctly earthed as defined in the IEE regs.