deepbass5

I sold a cab to Squib a couple of years back in a motorway service station on the M40, nice smooth deal no probs at all. Last week we met in the same service station and i bought an amp off him. We're all mad on here aren't we. But Stu is sound as a pound. trade in confidence.

Just wonder how you are all setting up your gain signal path, Is your bass passive/active ? is the volume full on, does your 500 w amp have a gain control front end where is this set and then is you master volume set to 1,2,3,4,5,6,7,8,9, or 10. I have two class D 500 watt amps and find they are far more than i require if i set my bass and input gain up correctly. I started out with a 60w combo in clubs it was fine. I get really annoyed at manufacturers that only put all the bells and whistles on their largest powered amps. I would be happy paying for the additional flexibility on smaller powered amps.

Sounds like you have the right approach, I have also wasted many years due to picking up my bass and twiddling the same ole phrases and fills. The reason for posting that link was that 10 days ago I didn't think I stood a chance of playing that. The gig was last night and I think I got away with it . But what it did do was make me practice all the other numbers with renewed vigor. Some complex Mr Buble' arrangements. So the result is today I feel great and I know that the hours i put in last week will stay with me and have made me a better player. The next step is for you to get good enough to have the confidence to join a local band where you can read regularly to maintain your reading skills. All the best

Can you guys Bill/ Alex explain this with ref to qouted or more commonly non quoted Slew rates and in rush currents. Established companies were once proud to quote this which i believe is the ability of an amp to deliver that instand power when the string is pucked. Transformers used must have an affect on this re the old school large transformer / mosfet amp to those used on class D. or can both have good response.

Borrow a beer crate from the bar, or these are handy to have anyway I bought one of these [attachment=204345:trolley.jpg] and made one of these which I always put my cabs on [attachment=204346:board.jpg]

Ed is great I started on bass with Mel Bay which maybe who publishes Ed's books anyway. These are like the tune a day books brass players have, starts simple you know 'home on the range' and 'twinkle little star' etc. The secret is start slow it is a life long journey I started at 9 that's 50 years ago and just got through another hurdle and off running again. and it goes like that you hit a wall and think I'm never gonna do this and you apply yourself, lots of shedding and bang you are through and then race up to the next brick wall. Here is my last mountain https://youtu.be/xvxCMrdROYE 240 bpm and a bass/vocal solo good luck

The Shires - love their stuff on the radio but the gig suffered from the usual kick drum boom, I also believe a lot of the gig was backing track and the bass and lead guitarist were miming. Just weird sound. There was probably only two numbers where they I could say they were producing all the parts heard. Anyone else seen them.

This is basically how we hear, which is why we often dial in a to even things out, and need bigger amps than guitarists

BC Rich Eagle bass was another fave in late 70's, but bet those recordings were the Ray into the desk

It isn't about what we like, The punters love it so if the singer is up to the task it is a great song to learn. It also shows what a good musician Duff is Great inventive supporting counter melodies driving the song to where it needs to go on every twist and turn. I think it is a classic bass line and every bit as good as the guitar part above.

Hi Japaxe I have been here or there for a while now, but as Bilbo says practice is the key to everything and it will come, I had a real hang up of not knowing the best place to start on the neck, to avoid this problem. I even took lessons from a pro to sort me out, this was good as it showed me there is no wrong place but a best place. So on those numbers you are referring I would suggest starting in the 5,6,7th position with your middle finger left hand on the route of the scale the piece its written in e.g. Db Then without looking at the neck you suddenly find all the written notes are falling under those fingers just as you would play the scale in that key. I am 13 years into this and now play in two big bands but you still find some numbers that freak you but thats because some arrangers are not bass players good luck

Keep it as is - you may just pull unless you do sing along gigs at old folks homes on Tuesday afternoons

Just ditto - above , loved his feel, a player that stuck in my head because he made you seek him out to find out who that was playing on a particular track.

Well all fitted, and I can confirm as per Fretmeister, very nice. As you can see the Labella strings do actually fit the Status machine heads perfectly without the expense of upgrading to Hipshot's but this will allow the use of other strings in future, they feel very solid quite a bit of play in the old ones. The Labella are higher tension than the Status due to the size so a tweak on the neck was also required to keep the relief the same. mine are the 60,70,94,115,135