mrtcat

[quote name='therealting' timestamp='1480069745' post='3181412'] I've decided to sell my SRFF806 as the neck is just a little bit slim for me (I have some hand issues). As new, freshly set up and listed in the Classifieds. [/quote] Dave Swift loves his srff806. Loads of quality bass for the money.

I had a 5 string once. It was excellent.

[quote name='PaulGibsonBass' timestamp='1479651183' post='3178112'] We played at The Red Lion in Brackley last night, just down the road so nice and easy. Good venue, decent crowd, went down well. We played well apart from a couple of drummer-getting-lost incidents. Horrible tone from me though, wooden floor making the amp boomy and hard to control. I eventually got it sounding about right after a few songs following lots of between song tweaking. Really feeling it this morning, I'm the oldest (47) in a band full of 30-somethings and I'm finding gigs harder and harder to get over the next day. Does there come a time when the negatives of being in a band outweigh the positives? [/quote] I've played there a heap of times and it's one of the few places I've played where a gramma pad or similar makes a huge difference. The lady that used to book bands would insist on hosting a table of her mates because she thought of herself as a bit special at the front which used to reduce playing space a bit. Thankfully her and her husband aren't there anymore.

Well done that man. Absolutely brilliant basses. Sterling work....

[quote name='ivansc' timestamp='1476142708' post='3151786'] MRTCAT: Was it the singer and bass players night off, or do the drummer and guitarist usually go out with backing tracks and a singer, no bassist? Sounds good though - I used to do something similar - a duo with me on guitar and vox, backing tracks for bass keys etc and my drummer on electric kit. He was great - no click track and we nailed it all the time. Sadly I dont even have audio of it, let alone video. [/quote] They usually have a girl singing and her fella on bass. They were away that weekend so we stepped in. The guitarist deps for us a lot as our man is pretty busy with his main band so it was a returning of favours type thing.

[quote name='LukeFRC' timestamp='1479851251' post='3179831'] when are you getting them? Tempted to wait till I hear your review! [/quote] Hopefully early Jan at the latest. Will post my thoughts then.

[quote name='EBS_freak' timestamp='1479842444' post='3179746'] Listen to the live version of Hotel California from The Eagles Hell Freezes Over album and tell me you can't hear a difference! [/quote] Will do, I'm confident I'll be really impressed but trying not to over hype in my head just in case lol.

[quote name='LukeFRC' timestamp='1479823724' post='3179556'] hmmm they are the budget IEM my friend the pro tech guy suggested as a cheap option - for what I do trying work out if worth dropping the cash on the ue900s ones [/quote] I've been very pleased with them but have nothing to benchmark them against. I'm sure I won't be but, if the UE900s aren't a big step up from what I already find very acceptable, i'd be really disappointed.

How about a cheap in ear monitor set up. I just posted up my sub £100 in ear set up in the thread in this forum. Has worked a treat for me. I can hear everything including my own vocals beautifully and the whole little rig fits in the front pocket of my bass gig bag.

Playing odd spaces like that is a bit of an art and clearly, judging by the responses above, many on this forum have mastered that art. Volume control on stage (or behind the pa as is more often the case) and a nice PA are the two things I focus on. If you can get everyone to turn right down, put a mic in front of guitar amps, DI the bass and point amps at your heads so you can hear yourselves then you stand a far better chance of getting a nice mix out front that isn't so loud that it just becomes a headache when it starts bouncing about. Low ceilings are far better than high ones.

My Limelight P [URL=http://s12.photobucket.com/user/Tom_Caswell/media/Limelight%20Precision/IMG_7591_zps5nzsjwcn.jpg.html][IMG]http://i12.photobucket.com/albums/a234/Tom_Caswell/Limelight%20Precision/IMG_7591_zps5nzsjwcn.jpg[/IMG][/URL] [URL=http://s12.photobucket.com/user/Tom_Caswell/media/Limelight%20Precision/IMG_7589_zpsnxhfrkbh.jpg.html][IMG]http://i12.photobucket.com/albums/a234/Tom_Caswell/Limelight%20Precision/IMG_7589_zpsnxhfrkbh.jpg[/IMG][/URL]

I'm about to invest more int my IEM setup now that I know how well it works for me. I started super low budget (I was able to find a workable IEM setup for under £100 all in) as I didn't know if it would be for me or not. Well it definitely is for me and I really love all the benefits of being able to hear everything (we use tracks fairly often and it was a revelation using IEMs for this) and I really haven't struggled with feelin isolated. I'm probably going to pick up some UE900s and have them re shelled and stay on a wired system until I can afford a decent quality wireless setup. My under £100 setup was a pair of these: https://www.amazon.co.uk/MEE-Audio-Universal-Isolating-Headphone/dp/B015S2I6A0/ref=sr_1_1?ie=UTF8&qid=1479726254&sr=8-1&keywords=mee+m6 One of these: https://www.thomann.de/gb/behringer_powerplay_pm1.htm?glp=1&gclid=Cj0KEQiA08rBBRDUn4qproqwzYMBEiQAqpznswTwcQ1jOyOSgjbfoOIiS12dcRAe5VdTHKMwJDV5XegaAhJM8P8HAQ And a packet of these: https://www.amazon.co.uk/Comply-T-500-Isolation-Earphone-Tips/dp/B004HKIAIS/ref=sr_1_13?ie=UTF8&qid=1479726938&sr=8-13&keywords=comply+memory+foam+tips I'm under absolutely no illusion that this is anything other than a super budget way around it but I have found it a really useable setup and I've loved the clarity of sound and fact that my ears aren't getting any kind of bashing. I haven't found a wired system any more restricting than using a lead for my bass. We have a Behringer x-air 18 so I've been able to control my mix from a tablet. If anyone is thinking of giving IEMs a go this will certainly give you an idea of how it'll work for you without breaking the bank.

Simon bought my Jazz bass today. An absolute pleasure to deal with, no messing at all and he braved horrible Sunday morning weather to travel up from Gloucestershire. Thanks Simon.

[quote name='pierreganseman' timestamp='1479550629' post='3177375'] waiting time can vary...... 12/15 is worse case scenario. I've had one done in 7 or 8. [/quote] That's cool. Adrian said 12-15 this morning but if it comes sooner it'll be a really nice bonus. I had to sell my stingray and jazz to fund this so until then I'm going to be using just my Limelight P for all the Xmas party gigs and nye. Actually really looking forward to getting back to basics a bit.

I'm in!!!! Elwood L ordered. Blueburst flamed maple top, Maple neck / board, 1 bassculture mm style humbucker, 1 bassculture single coil, delano 3 band eq with parallel/single/series switch for humbucker. I emailed my enquiry last night at 8pm and by 9.30 this morning we had agreed everything, I'd selected the piece of maple for the top and I'd paid my deposit. Possibly the easiest custom (ish) order ever and really swift comms. 12-15 weeks is going to seem like a lifetime lol.

Alberto just bought my stingray. A very smooth transaction and he arranged the courier to Spain so it was easy peasy. I wouldn't hesitate to do business with him again.

Crown xti amps have built in limiter facility so you'd be able to protect whatever cab you go with.

Bass is more about rhythm and underpinning the melody so playing along with and getting tight to drum patterns is where the fun lies. You can use a drum machine or loop. I also use youtube drummers to play along with when I'm practicing theory. lumbeat has some good basic beats at different speeds and doesnt cost anything. If you want something particular to play along to then karaoke-version is a good place to buy tracks. You can remove the bass parts before downloading the tracks and as you can download a track you've paid for as many times as you like you can isolate drums if you want or even isolate bass so you can hear the bassline better.

I see you have Chris Hardwick drumming with you this weekend. I play with Chris in Sugargroove, he's a great player and a really top guy too. Have a good one.

[quote name='TheGreek' timestamp='1479155152' post='3174417'] Sorry but I can't take these basses seriously - locally this is rhyming slang for something rude... [/quote]

To me modern is last two - three years but for people in pubs to really know it maybe last 10 yrs . How about something like: Shut Up And Dance With Me by Walk The Moon Uprising, Knights Of Cydonia - Muse Somebody Told Me by Kaiser Chiefs I Write Sins Not Tragedies - Panic At The Disco 21 Guns - Green Day Do I Wanna Know - Arctic Monkeys Thnks Fr Th Mmrs, Sugar We're Going Down, Dance Dance - Fall Out Boy Snow - RHCP Icky Thump - White Stripes No One Knows - QOTSA Pretender - Foo Fighters Teenagers - My Chemical Romance

[quote name='EBS_freak' timestamp='1479132791' post='3174166'] If you are having problems like this, its probably the sub lows that are mushing everything up. HPF pretty much everything at least 50Hz as a starting point. If you are still getting swamped, then start increasing the point of the HPF until you can cope on stage. If you are getting swamped and you are playing in a fairly small compact environment, there's going to be a hell of a lot of reflections and bass traps to contend with. Just because your subs go low doesn't mean that you should chose to mix those lows in - the room may not thank you for it and punish you with mush. As long as you still have circa 60 hz in the frame for the kick drum, you can get away with HPFing the bass a bit higher... You may not get the fundamental but you'll get the overtones and you'll be heard a lot clearer and without the sub mush. In fact, your band may suddenly sound a lot tighter because of it. Most popular bass amps will actually shelve the lows for this exact reason - and the DI out will send the "unshelved" signal to the PA. If you are miking the kit... make sure you are using gates. This is CRITICAL. The bass drum is going to get everything muddy very quickly without using one... the shorter you can make the gate open and close without making the kick sound off, the cleaner your mix is going to be. Same applies to the toms but you'll need a longer gate... that floor tom mic is going to be adding mud to the mix and all of the tom mics are going to be picking up the bass drum... so if you can gate them off when they are not in use, perfect. I've started to use a drum trigger on the bass drum to help in this department because you can get an isolated kick sound without picking up a load of crap... however... if you are playing stuff where your drummer is playing a lot of ghost notes, the trigger isn't going to get the intricacies of this. To get around this, you may want to use both a mic and trigger... but you can be really be savage with the eq on this front as you don't particularly want mega sub lows on a ghost kick because it would get all mushed up and inaudible anyway. (so in short, you are miking the overtones of the kick, not the fundamental, so you can hear the ghost notes but not necessarily feel them out front - perfect). Having said all this, a bass mic and gate should be your first port of call. We could talk about cardioid sub arrays but I guess you haven't got three subs with this feature? You shouldn't need foam and the like... but you may want to try putting your subs on pallets if you think that you are getting too much coupling. You may need to spend a bit of time figuring out where you want to sit in the mix... for example, bass and kick will fight with each other unless you eq them both appropriately. Keys and bass will fight... Guitar and keys will fight... and of course once all that is good, your vocals have got to sit clearly on the top - which reminds me, make sure these are HPF pretty high - I tend to take vocals over 100Hz+ to keep the sub out of the vocal mics. Drums are a bitch - they seem to be picked up by every open mic going... as do sub bass frequencies (thats why HPF is so important) And if you are running your subs low and hard - it's no wonder your 1x10s can't keep up! PS - I am assuming you are either running a digital desk or have an analogue desk with appropriate outboard to do all this! [/quote] +1 to all the above. There's no need to run anything below 50hz and definitely HPF the vocal mics. You will need to spend some quality time setting up the gates on the kit because drum mics can be really tricky to handle without them. What is the sound like out front? Is it mushy out there too? Placement of subs can really affect the sound. I often find that having one sub under each top at either side of the stage is not ideal unless you have space to get them 60ft apart. You can often get a tighter sound from them when sat together and by doing so you can also reign them in a bit so they're not working so hard. If they're overpowering the mix then taking them up off the floor and away from walls helps (works in reverse if theyre getting lost). Bass will travel in all directions so no amount of foam baffling will really help and if it couples with the walls you can find it unbearably mushy in the corners of the room.