Ghost_Bass

[quote name='chrismuzz' timestamp='1458332320' post='3006816'] The only reason I don't use D'Addario Prosteels is that I use Elixir strings! I know there's a rumour that they're D'Addarios in a condom and the sound is so close there may be some truth to it. [/quote] Not my view, i've used a few Elixir coated sets in the past and the sound just wasn't there for me... too artificial is the best way i can describe it, too harsh in the highs and lows but not very harmonic sounding. Replaced it for EXL until The ProSteels were released and now i'm trying my first FlexSteel sets, The Pro and Flex last at least as much as Elixir, cost about a third of the price and the tone is much richer, IMO they are miles appart from each other.

[quote name='EssentialTension' timestamp='1458575578' post='3008729'] I sound roughly the same whatever I play. [/quote] Yep, i'm the same here. That's the reason why i turned my attention to Yamahas, they have "my tone" straight out without any messing in EQ knobs. The added bonus is that i don't need to shed 2k+ on a bass that will need EQ to sound the way i like. On the OP, for me the playability of a bass is down to a few factors: Weight - it needs to be comfortable Action - Needs a low action to be played without effort Neck profile - needs to fit the hand without it getting tired and allow to play fast lines Electronics - Each to his own, having the right "plug-in tone" will make life easier Overall a bass needs to sound like you want without too much trouble EQing and needs to be comfortable enough to let you play for hours and hours without physical harm to your body. Everything else is just bling to draw attention.

Age isn't a big factor in cover bands, from what i've been seeing. In my band the oldest is in his very late 40's, i'm in the middle with 34 ang our singer is the youngest with 23. In originals bands i guess that age is an important factor as people want to have a career without having to worry that soon one of the members will be too old to gig and has to quit. Also, another fact for age is that people of the same generation have similiar tastes and experience and will most likely be aiming at the same goal. I remember, in my first band, (a thrash metal band) we were 4 16 year old kids, we all listened to the same bands at that time (from nirvana to metallica), we couldn't even consider that an "old guy" (read this as someone with my current age) would fit our band as he would most likely be a listener of Pink Floyd and Queen.

[quote name='stewblack' timestamp='1458648071' post='3009353'] I need to get out and find the jam sessions I suspect. There is nothing where I live, no venues, no jam sessions the scene has died almost entirely so I'll have to travel to big city and find something. [/quote] That makes it a bit more dificult but not impossible. Find a place relatively near you, in the surrounding towns and become a regular at those jams. It's a win/win situation, you'll enjoy yourself playing live again and get to meet and play with new musicians. You can also take the Mrs and/or some friends with you and spend a lovely evening, I guess it makes it a win/win/win...

You're never too old to do what you love, you only need to find the right people. You've fallen off the radar so you need to start by letting people know that you're here again. Do the jam nights, like someone mentioned, it's a great way to get to know other musicians and do some networking. From there you could find a couple of guys interested in starting a project (a covers band would be the easiest way to start as it involves less time between choosing a playlist and start gigging). After you're in business again you'll get to know even more people/musicians and the gigging offers will start comming to you.

[quote name='TimR' timestamp='1458064482' post='3004371'] We solved it with one drummer by all refusing to turn the volume up to match him. He had no idea where he was in the songs and kept complaining he couldn't hear the rest of the band. [/quote] It's one way to do it.

[quote name='Twincam' timestamp='1458063250' post='3004347'] Haha! To be honest ive had mixed results with fenders regarding setup in general. All of them can take a decent setup but very few can go really low without a lot of work! From a playing point of view my preference isn't that low and I think fenders sound and play better with a average setup, rather than super low. In terms of relief fenders should have a bit of a bend. [/quote] Exactly, i agree 100%. I'm a light player so i can have the strings very, very low without buzz. I also love the Yamaha tone so it's a win/win for me

[quote name='cheddatom' timestamp='1458045979' post='3004149'] the sticks/brushes/hot rods thing - I can make hotrods easily as loud as sticks, and I can make sticks as quiet as brushes. It's not the easiest thing to learn but surely most gigging drummers can play quietly? [/quote] I've been fortunate to find these rare gems in the last years in my previous and current bands but i, personally, know more drummers that only know how to hit hard than those who have a good sense of dynamic and can adjust volume. We all know that the drum kit/drummer sets the benchmark for onstage volume and i'm one of the first to agree with any drummer that says that when you hit it hard it sounds better but not all are prepared to sacrifice a bit of his tone for the greater good (or aren't able to do that). Like i said, i'm fortunate to been playing with a drummer for the last 5 years that understands this (but i still take every chance to tell him to play softer, just to keep him on his toes )

Straight as a ruller for me... [size=2]...but i use Yamahas, not those F things that often need some bending/schims/dressing so they dont get fretbuzz... [/size]

[quote name='therealting' timestamp='1457783460' post='3001744'] Here ya go, Dazed [url="http://www.ishibashi.co.jp/sale-event/6962"]http://www.ishibashi...sale-event/6962[/url] [/quote] Why a chrome control plate? It looks weird to me...

Golden rules, for me: Always make sure you leave yourself some time to soundcheck properly. The best band in world is inaudible with a sh*t sound. If you're being payed you must offer the best quality possible.(Edit: if playing fro free you never know if somebody in the audience may offer you a payed gig if he liked your work) Some rooms are very hard to get a half-decent sound, on those times all you can do is to do the best possible mix on soundcheck and if you're not using a sound engineer don't mess with the mixer during the gig (unless something really bad like feedbacks occour). If you did your best at soundcheck you wont be able to improve the sound during the gig, standing in the stage, chances are that it'll only get worse. One thing that helps a lot in bad rooms like the one you described (lots of glass or narrow space) is for the band to previously agree that they need to play at a lower volume in that venue (and that includes convincing the drummer to hit softer or at least replace his sticks with brushes).

[quote name='jack7jack' timestamp='1457951247' post='3003192'] Yeah, the issue is the 2x10 cab has handles either side, so the head doesn't sit on a flat surface or have the added security of the magnetic indents. I suppose you could run a 2x10 under the 4x10, but after a bit of research people weren't recommending running a 2x10 & 4x10 due to both speakers distributing the power differently, so I've put the 2x10 on top so I can make sure I'm not over powering it. Can't believe how good these things sound though, after playing a Hartke KILO for a few years and lugging around a flight case, being able to get a better tone from a tiny box is amazing. [/quote] You can allways use the 410 on top of the 210 so you can have the head mountings available. Don't think it will change the sound. Also, the feet from the 410 will make it clear from the handles of the 210.

Another thing you can try (if you're comfortable with the soldering iron) is to use a very fine sandpaper to the place where you have the corrosion and then tin it with solder - a fine layer of solder will protect it against future corrosion and promote a good contact. A picture of the damaged area would be great for us to know the extent of the corrosion.

It's all related to the way people feel comfortable to play a bass line. I know a lot of people that prefer to go up and down the neck in the same string and others (like me) that prefer to have the hand fixed in a neck area and move from string to string. When i have a new song to learn i use every trick in the book, i usually play it alongside a youtube video (originals, but i've found a couple of songs where i had to dig out an instructional video to help me with some details) and i use TABs from the net. Sometimes they're wrong and here's where the ear is very important but other times they're accurate and can make your life easier. I tend to only use TAB to learn the notes as most of the times they're shown like the example in the OP and i'll play the song in other positions.

[quote name='The Twickerman' timestamp='1457515812' post='2999171'] An update. We played a couple of warm up gigs - a small 250 capacity place and then a 700 capacity place. I used the 115W valve amp with a 15" cab - with a pre-EQ DI taken (from the amp) to the desk. It was more than adequate for both. The interesting thing is that I actually played at a lower volume for the bigger gig (as was suggested first by sunburstjazz1967 and echoed by IanA and Phil Starr). I was at 5/10 input gain and 5/10 output level for the smaller venue (as I usually am for pub gigs) and turned the output level down to below 4/10 for the 700-capacity venue. One very interesting thing I found:- it was a useful compromise to take the pre-EQ feed to the desk at the larger venue. This meant I could apply quite extreme EQ in order to get a clear sound for myself on stage - without inflicting that on the audience (the stage itself provided very effective passive bass reinforcement). The sacrifice being that I had to trust the soundman to apply appropriate EQ to the bass (something he was more than able to do). [/quote] There you go, problem solved! Many times people think that they need more power for bigger stages, that's rarely the case because there's often stage monitoring to reinforce your sound and not having the drummer hitting his cymbals hard just a few cm from your ears also helps you hear your bass better. For me, the only thing that a bigger stage needs is more low end capacity from the amp to give it a bit more punch (as oposed to pubs where that low end can muddy the stage's sound), the big open space can swallow most of the sub-bass.

[quote name='karlfer' timestamp='1457105901' post='2995430'] Which amp stand do you use please? [/quote] I use a Rockstand, got it from thomann but they don't seem to have it available at this time: http://www.amazon.co.uk/Rockstand-Combo-Amp-Stand-Medium/dp/B00735VEBE I find this pretty handy as i can use it with both arms at the same height to use the 2x12" or use one lower so i can have my combo tilted. Lets see if i can link some pics: If you look at the left side i had both my stands being used by the guitards on that gig, one had his cab tilted and the other straight.

[quote name='Lozz196' timestamp='1457081023' post='2995042'] I`ve had a couple of different Barefaced cabs, currently using Super 12Ts, one for smaller gigs, two for bigger gigs (and then only more for the "look" than needing the second one for volume). Find them very good, they seem to be very neutral/uncoloured, so the sound I set up on stage is virtually the same as what goes to the FOH PA. Plus they are incredibly easy to cart about as well. And I also like the look - very plain/functional looking. I`d just love it if they did a matching 4ohm 1x12 that I could add in to my 4ohm Super 12T to get a bit of a higher set-up, again more for the look than needing the volume, as when I use the two Super 12Ts I have them side by side as too wary of them toppling if stacked vertically. The old Gen 2 Midget is the right size, but 8ohms, aaaarrrgghh. [/quote] It would be very hard to match a 1x12" cab with your S12T. The drivers on the S12T are Eminence 3012HO and, as far as i know, they only made it in 8ohms version. I lift mine a bit using an amp stand, about 60cm from the floor. I can hear it better and don't miss the floor coupling in "my tone".

I believe that the vibration treatment (yamaha is also doing it in the BB202x) makes the instrument more stable, all those new "stiff" parts get free from any assembly stress and even may release some stress inside the woods. The final result is a instrument that won't move and has more tunning stability. I wouldn't call this an old instrument, everithyng is still new and working properly. This is in fact one advantage for old instruments, those basses are more stable but the ageing of the parts won't make them sound nicer, IMV it weakens the sound quality. EDIT: i can undertand that some people will love the result of the degradation in sound over time, it's just another diferent tone and its not bad, only different.

[quote name='bjelkeman' timestamp='1456679603' post='2991329'] (...) [url="https://flic.kr/p/E4ZBbf"][/url] [i]Secret project being unpacked. Even unfinished this sounded amazing.[/i] [/quote] They're doing a bass?

For me a new bass needs some running in. It's too "stiff" out of the box (just like a set of new strings, they need a couple of gigs to settle). But i don't believe that a bass improves its sound with age (like an old wine), i would even say that a bass can sound worse with age as the electronics, contacts, solders, etc. loose quality and the hardware gets worn and becomes a bit loose damaging the tunning stability.

[quote name='BassBod' timestamp='1456352085' post='2988288'] I would applaud the use of the word Heft....quite appropriate for describing the indescribable essence of a big old heavyweight amp, valve or otherwise. For me there is only one real disadvantage to these modern lightweights - getting them fixed. While in production most manufactures seem pretty happy to replace circuit cards/most internal modules - but after those parts are no longer current stock, most likely your amp is heading to the tip. I've got 25 year old amps that are still mostly fixable..even if some components are harder to source or relatively costly. The thought of an expensive five year old amp being written off as unfixable due to its construction concerns me. Especially as they do all appear to be pretty similar. Having said that, I'm very happy with the Aguilar TH500 and TKS S112 and its a joy to gig with, given the usual awkward load ins/ car sharing / crap parking situations I often work with. [/quote] There's allways a solution. For example, let's say that the power amp in my Shuttle brakes and there's no more ICE 500W poweramp modules on the market. I can get one of the new ICE 700W modules and put it in. If i don't have the space i can rehouse the entire amp. This works with the other components, a bass amp is roughly made with 3 parts, Preamp + Poweramp + PSU, they're all replaceable, if the tech really knows what he's doing and from the looks of the current market these modules will continue to be made, upgraded and refined.

[quote name='Dad3353' timestamp='1456333087' post='2987989'] Using the BBCode link supplied by an external photo account is a good idea; the photos are better presented and it uses no BC server space. I use Imgur (it's free, and very simple to use...); here's what it looks like (the correct link for Basschat is in green...) ... Hope this helps... [/quote] That's what i used to do with Picasa and now (google pics) doesn't work. I get that message i've written earlier. Before, when i wanted to post an image of something, i would do a search for images on google, then right click the one a want and chose "Copy image's URL", then i would paste it in my post, using the "image button" and it would work. Now there are a lot of pictures that can't be linked this way (the message pops up). What's this about? Has something changed on the internet or was Basschat subject to any chages that caused this?

[quote name='fleabag' timestamp='1456327030' post='2987907'] I bet now i've shown some interest in a PB-1 that i'll never find one [/quote] I have a friend selling one here in Portugal. He's selling it in a rack with a poweramp, i don't know if he'll split. If you're really interested let me know and i'll give him the heads up to talk to you. I think that he's a member in BC. EDIT: enough OT for now, let's continue it on PM if you want. Back to the Magellan!

[quote name='fleabag' timestamp='1456324542' post='2987855'] That sounds about right GB I'd pay that for a PB-1 I'm sure, in the past anyways, that HBP-1 pre's have been in the £7/800 area, which is there abouts, 5 times the price of the PB-1, so i wasnt far off [/quote] It's more like 7/8 times more, i've posted my prices in euros, 120€~=£100 The PB-1 is a great preamp, lots of low end available and the EQ section is extremely versatile. I only kept the F1-X and sold the PB-1 for simplicity and resale value in the long run. I could get both to sound the way i wanted.