stingrayPete1977

[quote name='sbrag' timestamp='1420211437' post='2646709'] The last Black Dog Company set list is below. Anything with BDC is our own: [b]SET 1[/b] Some Other Guy - The Beatles It’s Not True - The Who Till the End of the Day - The Kinks I Don’t Need No Doctor - Ray Charles First I look at the Purse - The Contours Poison - Bert Jansch Somebody to Love - Jefferson Airplane Hammers - BDC Going Down - Freddy King Wrong Thing - BDC Elephant Man - Bo Diddley Roxette - Dr Feelgood Off Day - BDC Not the First Time - BDC [b]SET 2[/b] Bringing It On - BDC Somebody Stole My Thunder - Georgie Fame Midnight to Six Man - The Pretty Things Slow Death - Flaming Groovies Fortunate Son - Creedence Clearwater Revival Self-Made Man - BDC Richard III - Supergrass Under My Wheels - Alice Cooper Going Back Home - Dr Feelgood Dancing in the Street - Who version Summertime Blues - Who Version Shakin All Over - Who version Teenage Kicks - The Undertones Ever Fallen in Love - Buzzcocks Substitute - The Who Gudbye T'Jane - Slade [/quote] Goodbye to jane, now that is a good tune, consider it pinched but we are miles away from Brizzle!

[quote name='Wilco' timestamp='1420202764' post='2646615'] To a degree, I guess it would depend on what level Fender you have. My experience has been that the MiA's are definitely the best - definitely wouldn't ditch one of those for a Squier. I've had a couple of Jap Fender's & again, wouldn't have ditched those for a Squier either. Between a MiM & a Squier? Possibly, but that would probably come down to individual instruments. [/quote] I'd agree with this, in fact all the Mexican basses I've tried have been worse than the squier ones including two affinity basses I've owned! That said I had a really nice Mex strat but then that didn't sound or feel quite as nice as the USA strat I replaced it with. Other than some shoddy 70s USA basses no USA ones have been worse than anything below in the range, had some Flappy B strings but even then the actual finish and sound were still good.

I've tried Sandberg basses a few times, left me totally cold and the mm equipped ones are like an mm with the battery nearly flat. The finish is generally good but I don't know they just don't float my boat,I was convinced I would come home with a lakland dj5 yet it was the good old yank jazz that won the fight and my money in the end, it's a nice bass all told so they do exist!

I think there are two ways to watch the hootenanny, either live as a background thing maybe with friends chatting having nibbles as it's inoffensive and you can keep an eye on the time etc or just watch it on Iplayer or video whatever and scan through it, that's what I did and it was ok. I gave everything a chance for a minute maybe, it either drew me in or I skipped to the next act.

I wouldn't be asking for confirmation of them liking my tone or not?, volume maybe in a "can you all hear me ok?" But not the tone, I'd select the appropriate tone for the genre in question and more importantly use a playing style that works, if they don't like it fine I'd rather not have the gig than be told what tone to use thanks

People banning active basses, I'm guessing five strings are out too with people like that? Well I'm banning haircuts for twenty year Olds in my band if you are over forty then, there are some idiots out there.

That cab does look beastly to be fair, as long as you dont mind moving it around keep it.

I felt the same way but finding a nice us jazz V has made me realise I do like having one in my arsenal, the dodgy ones with crap B strings just makes me more happy to have this one, its already picking up a few marks and I dont mind somehow it feels right.

The trouble is there are so many versions of each version too, USA std or USA deluxe for example. Personally I think they should have kept Fender as usa models only, then Squier by Fender maybe with fender on the headstock just smaller for mex models, Squier for the higher end squiers, then maybe something like "Affinity by squier" as the entry level stuff.

[quote name='JTUK' timestamp='1420111365' post='2645591'] But I do think you would or should sit down and work out what the things do and how you go about getting your sound. Otherwise, it is just the same as forever tweaking your pedals... When I see people doing that, I get the imrpession that they don't know what they want or how to get it.... A few sessions in the beginning working on those things should eliminate a lot of that. Some rooms are difficult but basically it is turn the amp on, plug in, listen and you are there in a few minutes. Endless din at a soundcheck going through 'sounds' makes me think the band doesn't quite know what they are looking for. But... I do take the point about too many sound options on basses... I want a full default sound with which I'll do most of my gig...and a simple rear pickup sound option .. That's it... and that simple...ONCE you have put the time in beforehand getting the sound sorted. IMO. [/quote] I agree a bad workman and all that

I think if you are used to spinning the tone pot on a P bass you can be overly adjusting the preamp, a little bit is all you need, a 2 eq Ray is similar to a P bass imo, set the bass to whereyou like it and its not overloading anything then use the treble pot as you would a tone pot, I had my treble cut on the bass totally! That said I mainly used my passive Jazz last night with a behringer bdi21 in the fx loop for that channel and it sounded great!

I just scanned it on iplayer, Now I thought as a performance Paloma smashed it, I love Wilko and NWR but it wasn't brilliant imo. I like Clean Bandit for some reason, I'd like to exactly how well they can actually play without the backing tracks or in this case the Boogie Woogie band!

Back home here too, happy new year. There was a music stand in full view but thankfully most of them stayed and danced! [URL=http://s997.photobucket.com/user/stingraypete/media/Mobile%20Uploads/2014-12/20141231_235827_zpsaxxakmhf.jpg.html][IMG]http://i997.photobucket.com/albums/af100/stingraypete/Mobile%20Uploads/2014-12/20141231_235827_zpsaxxakmhf.jpg[/IMG][/URL] New year slappin' [URL=http://s997.photobucket.com/user/stingraypete/media/Mobile%20Uploads/2014-12/20141231_233146_zpsdkronxrm.jpg.html][IMG]http://i997.photobucket.com/albums/af100/stingraypete/Mobile%20Uploads/2014-12/20141231_233146_zpsdkronxrm.jpg[/IMG][/URL] More scale length than a Dingwall... [URL=http://s997.photobucket.com/user/stingraypete/media/Mobile%20Uploads/2014-12/20141231_234654_zpsuwweh4f2.jpg.html][IMG]http://i997.photobucket.com/albums/af100/stingraypete/Mobile%20Uploads/2014-12/20141231_234654_zpsuwweh4f2.jpg[/IMG][/URL] Until next year folks

[quote nam timestamp='1419959237' post='2644346'] The Genz Benz NX2-212T I just sold sounded immense,best cab I ever used,just my dodgy knee didn't like me carrying it around. [/quote] My early version neoxT 2x12 will be seeing in the new year at tonights gig, brilliant cab.

Good review Jigster, when I see the big bridge plates on them I always think sticking a row of foam blocks on , it would look good from a distance, making it look like a pre EB bridge which I presume is the idea of the big plate anyway from a design angle? with a bit of drilling you could probably fit a complete spring assembly that comes with the spring plate, 4 thumb screws and foam pads, all it would need is the captive nuts gluing into the body behind the bridge and the four holes putting throught the bridge. John east preamp, file the fret edges here and there and you have a sort of pre EB stingray and a grand spare!

[quote name='JTUK' timestamp='1420018554' post='2644802'] Any decent studio will have way more options than you'd get from an active bass..IMO Companies like Aguilar and Demeter were studio pre amp solutions and many players would take one of those in a rack. What you don't want is a complicated and noisy signal chain and the idea was to get the cleanest purest signal. Once you get there, you can mess with it, but they tended not to want to before it went down onto tape. How much you can and do mess with a signal is down to how much you want to spend on it... and for a session player take, they want your job done and you out of there. [/quote] I see this the same for live gigs, a high end PA has far better knobs and dials than my kit even though it is decent gear, give them a good sturdy clean signal and let them fatten it up or compress it etc, that is their job IMO. I have heard a Ricky into an Ampeg with a floor mounted box of tricks, it sounded epic but mic'd up as per the users request the sound crew could not get it into the mix out front, the guy would not let them use a clean DI off the bass even for a blend and the gig went on like that and I never heard a note he played, great. I used a 1x12 combo with the DI off the back of my head pre EQ and had me in my monitor, slight bass boost on the bass and it sounded great on stage and out the front

[quote name='Happy Jack' timestamp='1420021208' post='2644839'] Don't talk about sex, religion or politics. [/quote] Unless one is a sex crazed politician that is trying to get you to join his new cult!

[quote name='Burg' timestamp='1420021207' post='2644838'] Good luck with the gig! [/quote] Thanks

Thanks Beer, I will be at the venue for 7pm so I can put it in the stand out of the way of where we are setting up and opoen the bag a little at a time, once we are sound checked it will be sat in the tent as the people fill it up I suppose which I guess is better than turning up at 10pm opening up the gig bag and going on stage! I could take the Stagg but I fancy the DB and we have enough room. Oohh I can see someone typing as I type.....

Yes I like mine, great for noodling on, bit of a feedback monster when you plug it in though! Has yours got the nice book matched back? There isnt much about them on the net is there, mainly pics of a slightly newer version with a different shaped head and different knobs. I think I paid £250 used for mine in about 1999? I have never changed the strings and the ones on it are not even a matching set

That Lakland is so nice, I love it! I have a 2013 USA std Jazz V in the same finish and RW board as Rick's '61, I quite fancy an active preamp in it so if I stacked the knobs like that I would end up with a five string version of that just without the ashtrays....hhmmm food for thought

[quote name='PaulWarning' timestamp='1419976285' post='2644609'] yeah I understand the problems with using other amps when doing a multi band gig but I've got an FX pedal for that and I think they cover all the arguments for using an active bass, plus you can change your settings mid song with your foot. And I do apologise for the spelling error in the title of the thread doh! [/quote] [quote name='Ben Jamin' timestamp='1419978863' post='2644635'] I was always under the impression that active basses were developed for busy session musicians who would bypass amp/pedals and plug directly into the desk/DI - such as Marcus Miller etc. Gives you a lot of control in a simple set-up. [/quote] [quote name='zero9' timestamp='1419979696' post='2644643'] Nobody needs an active bass, but a lot of people prefer it. In your case, it seems you don't need one. I've found that with an active bass I have all the tone shaping I need, without needing to touch an amp or preamp. Very useful when recording / DI'ing. [/quote] [quote name='discreet' timestamp='1419982842' post='2644690'] I used a SansAmp-type preamp pedal with a passive bass for years with no issues - I like to keep things simple live and thought that active basses just represented more to go wrong - but actually it's a lot simpler to carry your God with you (so to speak) and now I really like being able to just plug and play with my sound onboard. No need to carry pedals, extra leads and mains adaptors or deal with their associated problems and issues... [/quote] I have found using a Sansamp, multi FX or similar is good but it doesn't have the same effect as an OBP and if anything they are far more complex than any preamp, you cant really fine tune with your foot either, that is fine for going from patch to patch and I used to use auto wah with fuzz back in the day for the chorus on a few songs we did, the OBP is more about tweeking the patch you already have setup to suit any variables like a full or empty room, guitarist swapped to a Les Paul and robbed your space etc. As the others have said I find where it excels is live or recording, DI into the desk and you are away, I used my old pre EB Ray in a studio a while ago, the engineer had the stuff setup from a previous band using some form of clever box and a preset mix on the computer for bass but he was not happy with the bass sound so he just patched the bass into the interface and started a fresh bass track set flat and well there it was, a fine adjustment on the stingray and everything else could be mixed later. I do the same live too, DI the bass and set my own amp flat, mix the OBP rather than my amp and the engineer is normally happy with that, my passive Jazz into a DI would be lacking for me hence my outbourd pre but putting that in the signal chain live, remebering not to tread on it etc isnt for me. I have not decided how to use the Jazz through a big PA yet, the preamp is in my FX loop so probably go post EQ on my DI out but I think that is where the trouble starts, this "my sound" is great in the bedroom or even a practice room but it might not be what is needed out front.

I change all my batteries on my birthday and tbh I think probably the strings once a year too these days! Saves trying to remember what was done when, never had a flat battery yet

I think it is just a chemistry thing beyond ability which sounds like you have nailed, if you and the guitarist are taking the piss out of the drummer towards the end of it you are probably going to work well

[quote name='mcnach' timestamp='1419976022' post='2644606'] We're only playing a 45min slot at a NYE party in town with a bunch of other bands. I only know a few of them but they're all good and fun (we all play originals with a common denominator: upbeat, dancey, fun), so it should be a great evening. It's organised between two venues that are interconnected, so when one band finishes in one venue, the next starts in the other, so no dead time in between shows. We're getting paid really well as they're paying us taking into account how many band members we have (8-piece), so that's a really cool bonus, as it's a party I'd have liked to go anyway, but since I'm playing I get to be there for free as well I was planning on taking my brand new shiny red cabs, but it seems too much hassle for just 45min, so I might just walk in with my bass on my back and just have fun. Outfit not 100% decided yet, but I just got this wool hat + beard, and I think I have to use it, don't you agree? [/quote] I am thinking this is what Santa Claus looks like on his holidays during the summer? Edit to say- obviously Santa would be a five string player so it cant be!