deepbass5

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.

Over a year ago when i first replied to this post - and guess what, I am running the PAT test course this week. Though that won't help you its fully booked. but its about £350 if ya interested That said I do not believe you need to have done this course to be deemed competent, although it would be the best evidence to show you are. It is about due diligence so a spark should be fine. You know what to look for that could be dangerous, Inspection is the key part, the test with the machine will prove things you can't see. PUWER regs 1998 places a duty on people and companies who own, operate or have control over work equipment. a) suitable for intended use b) safe for use and maintained in a safe condition C) Used only by persons who have received adequate training (could be used to get rid of your guitarist) d) accompanied by suitable H&S measures I think this is the reason, not an MP wife For the Record on another PAT testing thread I did point out that Showaddywaddy had a gig cancelled when local council officials turned up to inspect there certs, and found PA etc in dangerous condition. I expect the crew were trying it on with the local venue staff. If you are receiving money to play you are being employed. If you run the band, The law may see you as the manager of your outfit and the one to answer in court for the death of a guest or musician who gets electrocuted.

Just six months of the wife's polishing and my new P bass looks like this. I just got her to apply for a position at the Fender CS just Joshing, pic Curtesy of those Limelight boys

I was planning to go down this route but not confident i know an original from a Bitsa bass. take an expert with you. The price will be more like £4 - £8k for a good genuine 62. I would rather play a Bravewood or Nash than be shafted a couple of sites to check out. good luck. http://davidjpym.com/page459.html http://www.guitarhq.com/fender.html

The wife Hoovering is my worry - but always have a bass out in my study. and its strictly off limits, to Mrs OCD I even empty my own bin. Also just started taking lessons again to get a few more tools in the toolbox.

From what i am reading here - the thread should read Still learning bass after 40 years and that's how i look at my position

Ya the fat lady sings

Great Vid great sound got to be chuffed with that. well done mate

Is it me, or is this moronic messing about with the tune justified. For the uninitiated you play through a jazz standard and at some point someone will suggest playing fours meaning the combo will play the first four bars then the drummer will be free to improvise alone over the next four bars, this will be reaped every four bars until the number is no longer recognisable. I added that last bit but you have probably gathered I'm not a fan of this What is your take

I think this shows it is easier to step on a compressor as and when you want to - than tick a box to let the world know how about those that may use their compressor after the sound check just to fosters the guitarist off

Answer any aggressive styles - Funk / Disco occasionally for me, - so any number requiring the thumb, as I find it does not sound right without it - to balance the high and lows, other effect pedals down the line used on these songs also benefit from the compressed signal. If i did record i would prob use it then also

A lot of wisdom their Phil, and have to say agree with all of your analagies A good designed speaker will always be a good designed speaker, physics dictates most of that, and our basses, amps and fingers and ultimately our ears will colour how much we like the sound. with current materials and CAD should allow us to build the definitive best bass cab. Maybe someone has, many claim this. My beach is that those large companies with the R&D budgets then spend ££££'s advertising to the uninitiated that their budget range of cabs are every bit as good as their most expensive range Best cab i have ever had TechSoundsystem 4x12 neo 1200w 4 ohm great for marquee's- civic halls, now using an Acme 1x12 every bit as good but don't need the coverage and trouser flapping

For me it needs Have a comp on my board but only use it for specific numbers/styles other than that i would be a I am in a band but compression is not my thing to be honest I would rather have nothing between me and the amp