deepbass5

I now play in two big bands and have been chasing the upright sound for years to keep the jazzers happy, but frankly you can spend vast sums on what you consider to be the right amp the right cab the right bass and no one gives a monkey's providing you play considerately. I started with the Amp EQ using a standard electric with round wounds, I have owned a Rob Allen, a very nice tone but it is not an upright sound, sold that and bought a Status electro 2 and put black nylons on that, love it, its a keeper but not an upright sound, I have now bought a Line 6 Variax which does sound like an upright if you are careful with the controls and sympathetic with your approach. Basically you cannot simulate the scale length that will give the right harmonic content to sound like a upright bass. Happy hunting [attachment=187415:P1010590.JPG] like this - not me https://youtu.be/kyqt7J6xuNM

I use a piece of kitchen cupboard - basically beech veneered chipboard with two rubber feet from B&Q under the top edge to give the angle and stop slip and cut it to fit in a Thomann flight box, valcro-ed the pedals in position - works for me. But i'm sure you could brace up the IKEA rest to look more Rock'n'roll than my piece of beech effect pedal board

Bringing this up to date from my last entry on the subject 3 years ago, I have now bought one as I am now playing in two swing bands. Since my purchase i have tried to find more info about these this brought these clips to my attention so thought i would share them. I am very impressed with the build quality actually yes they are heavy mine is a 5 string so even more so. But It does sound very convincing In a band situation, the upright K does sit well in the band if a little thumpy so would be pleased to hear from others who use them for upright bass. ref best settings of amp v bass. check the will Lee endorsement at 14:25 in http://youtu.be/liN7d2PDN30 also. http://youtu.be/kyqt7J6xuNM

Thanks for guns n roses clip, I did that at big gig a couple of years back, it still haunts me, about 3 bars in I just got the wrong side of a fret on auto pilot,there was no way back, it was all Les Dawson from there

Playing in more than one band. Sweet Caroline I play the intro. But the two bands do the song a tone apart. So i did my intro and you should have seen the look on our guitarist face when he came in oops wrong band

Just one comment on Subthumpers comment. I did read once that the old style transformers ( big square ones) with a core made up of thin steel laminates E's T's and I's etc. If i have lost you regarding E-T- I then you need to take one apart to know what i mean, These apparently are better at supplying the oomph that the circuit needs ( slew rate etc ) than the more efficient modern toroidal transformers. Modern toroidal transformers are designed to reduce eddy current losses. So I guess are better when in an application where a consistent step down voltage is required delivering a steady current. What this article was saying that an instrument amp needs a transformer sitting there that can meet those huge surges of power on demand which is more critical for bass amps than guitar. It may be bunkum but possible that all those eddy current losses orbiting your bass amp transformer, pulling in spanners and lose screws and washers may actually act like a mob of loitering bovver boys that follow the current flow into your amp and are on hand to give your valves a kicking. I blame Back emf ? well it has something to do with it. Will some electrical engineer please step in and tell me this is rubbish.

I don't see how this helps with arpeggios (re the clip) as it is just a speed related technique. I do use a metronome for sorting complex phrases over a couple of bars where i need to know if i am giving a tied note its full value or if i am rushing a dotted quaver in a sea of other notes and losing time across the bar and missing the one of the next bar. So handy to play along with while reading just to get you locked in. That how and when I use mine.

I put three Brimar Ecc83's in my GK 500MB fusion it was warmer sounding but just enough to be able to say there was a difference. I got them from an old BT engineer friend and haven't paid him yet, If he wants any more than £20 each he can have them back. From what you have suggested £80 each would not be worth the difference in sound.

so its the Ashdown and a second hand Bass Pod then

This would fit the bill, you lift the top off when playing. not cheap though [url="http://www.cmsme.de/epages/62030644.sf/de_DE/?ObjectPath=/Shops/62030644/Products/%22Rheingold%20B100%22"]http://www.cmsme.de/...ngold%20B100%22[/url]

This months I read whilst in WHS and has convinced me not to attend the Bass show this year. I have subscribed to them all at one time or another but even the US Bass Player went down hill, So I stopped taking that as well.

So what is the difference between this amp and the similar Ashdown black box, except you cant get hold of one of these and they will be twice the price when they arrive. http://ashdownmusic.com/files/product/img/img_20130709063359_99202_thumb.png

Thanks for the memories Dad, Ten years after in Hyde Park. crazy isn't it when you think how this silly game started. We were still using a pair of these Ten years after that with a 6 channel Wem mixer too. Not great but would love to be able to gig them again now in a retro 60's band.

The string tension seems to be the key, I found recently that to make the neck work for you, some necks that is, need to be compressed and a higher tension string in conjuction with a low action can make a world of difference, the sound of the wood starts to come through in your tone.

I dont see any CE mark on the back panel, Hope they haven't made the same mistake as Aguilar when anouncing the Tone hammer got me all gassed up then took a year to sort out european certs. So this could be a year May

Great to see these on sale here now, I bought mine from the states at great expence some years ago. but worth it, I can honestly say I will fit one or two of these to my next passive bass. Because they are made up from many different capacitors at each notch position you can really find the right tone for your pickup. hence I would like to try a tone/tone volume config rather than the usual vol/vol/tone

I have used passive Peavey's 12's and 15's for over 25 years no probs, but a year ago started using my sons RCF312 12" actives and found the vocal clarity to be noticable. We also only use PA for vocals + 3 x active monitors. They are not light speakers but better than a 15. But i would still consider a passive Peavey impulse 1012 system and seperate amp light and good components. note, not the cheaper PR series

Don't know if you guys caught this Bruno performance but this is the gig we should have been at last year watch it to the end http://youtu.be/F2i0Bc3f7jk

Thats sounds good. my input is - valve amp + input gain up like this http://youtu.be/b2qb2UTUtrI

I think this one goes some way to tie it to the bass but studio engineers love to play with their toys so has probably been tweeked beyond a single pedal http://youtu.be/GbGX1Sx0gvo

As said above Eden was the Pro gear of yesteryear. Good gear does not become less good over time, It is only the new kids on the block with fancy advertising budgets that convince us we are missing out on something. SWR also mentioned above, there is some good second hand gear around now. I remember when every touring bass player i saw was using Hartke - you weren't cool less you had ally cones. Buck the trend.

Strenght of signal is the key - so make sure your bass volume is well up and if needed take your amp input down instead, you will notice long notes will yodel as the signal strenght weakens and string vibration dies out. So best when playing 4 to the bar anything longer than a minim can be risky. I also have a compressor in front which can help.