clauster

Great collection Megallica, really glad my bass went to someone who really wanted it.

Did similar a while back. My last covers band had a decent PA - 32 Channel desk, various processors, 4.5K of power amps and Turbosound subs and mid-tops. A little Ashdown EB180 was sufficient for rehearsals and at gigs worked well as a personal monitor with a DI out to the PA for FOH.

I've just sold Megallica a bass. Great guy to deal with and a really nice guy.

[quote name='CamdenRob' timestamp='1390917388' post='2351234'] Why do I keep thinking of a Warwick Corvette...... [/quote] Dammit..... Coffee and screen moment

I've yet to see/hear a Basschatter's band that I haven't enjoyed but to name a few I've particularly enjoyed - The Jetsonics (Low End Bee) - Great tunes with a flavour that takes me back to my childhood/early teens. The Plan (Waynepunkdude) - A lot of fun. Wheels (I don't know his username, but I do know he does come on here from time to time) - fantastic songs and playing from a great bunch of musicians. Burning Organ (Silverfoxnik) - now sadly over I believe, but simply an awesome covers band that can (could?) fill a pub anywhere. Top of my list though is In Tyler We Trust (Hernandoitwt) - great songs, great musicians and absolutely lovely guys. On top of their performance as a live act, we're in the the same town, we've played the same local festivals, my singer's engineered one of their festival sets, I've stage managed one of their festival sets and they played a support set at my band's last headline show. Throughout, they've been reliable, friendly and had a thoroughly professional attitude. As someone who is involved behind the scenes they're a breath of fresh air - turn up on time with everything they need, set up and efficiently soundcheck when asked and break down straight after the set. Having worked four days across two festivals last year, they're one of the acts that gave us no headaches or nasty surprises. And that is very rare 'round here.

Not so much a disappointment, more of a frustration. I've lusted after a Warwick Thumb for years but could never justify the price. I did pick up a Warwick Corvette at a great price though. Great tone, playable, etc etc. But the degree of adjustability built into Warwicks is ridiculous. Spent more time fettling the thing than playing it.

I thought it showed how many nurses are required for help getting on and off stage

[quote]it is not even rack mountable [/quote] MB do sell rackmount ears for the TTE

[quote name='EBS_freak' timestamp='1389025741' post='2328969'] The Heil gets mixed response from a lot of sound guys. I had a guy turn his nose up at it so I said to him, set your EQ on your channel strip flat, turn your gain down from where you'd have a 58... then come back and tell me you don't think it beats crap out of a 58. I think everybody sees Heil as broadcast mics. To be honest, their dynamic PR40 will beat most low end condenser mics in the studio. Very underrated mics. In fact, the PR35 sounds ace on pretty much everything you want to throw at it! [/quote] I really rate his PR35. The engineer at our local venue was trying to work out what the hell was going on when our singer first plugged it in. When he found out it's a Heil he was really happy. As far as he was concerned it was MUCH easier to place in the mix due to the flatter frequency response. He'd just been bamboozled that suddenly there was a lot more top end than with the 58s. The filter switch is good too. Almost completely cuts out any handling noise. [quote name='EBS_freak' timestamp='1389025741' post='2328969']I was wondering the exact system he was using to see if he could change the capsule on the wireless transmitter. With a lot of the Shure stuff, it's only the real top end stuff that has the removal capsules. I'm investing in more ULXDs I think... and they will be having the Heil capsules put on them. [/quote] Oh God, more wireless gear is the last thing he needs.... It all ends up piled in "bass corner" at gigs.

[quote name='winterfire666' timestamp='1389015977' post='2328774'] In ear monitors maybe theres nothin like bieng able to hear yourself when stage monitoring isnt up to scrach. [/quote] Or a splitter and an active wedge. Nothing worse than in-house monitoring that doesn't perform.

[quote name='EBS_freak' timestamp='1389007550' post='2328600'] Tasty. Which does he use the most? I can't get enough of my Heil - I want to get the wireless capsule (bloomin' more pricey than a whole wired mic :-/)[/quote] The Heil gets the most use. He only got it a few months ago and the clarity over the Betas un-nerved him a bit at first. Sounds great to my ears though Really clear and great dynamics through it. The Shures only get used for rehearsing BVs and when we come up on an engineer who doesn't like the characteristics of the Heil. (Shures seem to be the Fenders of the mic world). The Shure wireless is the Beta58 Rackmount system. Not sure about the Senheiser as it's about 10 years old and he hasn't used it in about 7 of those years. It just stays in the rack as a backup.

I think our frontman has the most kit in the band - Mic box containing typically a Beta58, Beta57, Heil PR-35 and lots of XLR leads. Rack with 2 different wireless mic systems (Sure and Sennheiser). Boss VE20. Another rack containing a Helicon and a Lexicon MPX1. A passive splitter (buffered) to send a feed to FOH and another to his own mixer, then on to his own QSC powered wedge for monitoring. Bag with assorted mic poles as he can destroy any pole in a matter of minutes.

For a guitarist for home recording I'd eve suggest an Affinity Precision. I borrowed one from my guitarist a couple of years ago and once I'd overcome my own snobbery it became my main gigging bass for a while, until he wanted it back. Cheap, but good and can be improved with a new pickup.

[quote name='Thunderpaws' timestamp='1388394952' post='2321407'] Hello Clauster, I was going to ask if you are happy with the results, but since you've done three....it'd have to be "yes" [/quote] The kits really improve everything about the pedal - noise, action, tone. Having done (and sold) three I eventually realised that the CS3 wasn't the comp for me. I'm interested to see what you think of the mods for the ODB3 when done. I had been considering getting a used one myself and doing the kit, until I realised the Rat is the distortion for me.

I've done three CS-3s with Monte's kits. So long as you know the basics of soldering, follow the instructions and test the pedal after every component you'll be fine.

The Forum, Tunbridge Wells, 250 Capacity. POA for hire. Ticket share once costs are covered. Officially - no backline provided, but something can usually be rustled up with notice. PA - I should know the exact specs as I have engineered there a couple of times. FOH is capable of sounding great, monitoring could be better. House engineers (Andy and Tris) are both great. Tickets £5 upwards depending on who is playing.

I've had my bass related present already - 8u rack case 2u drawer 1u power thingy with 9 sockets and 2 lights I've put my LH500 already and have space for a compressor and one or two other things.

[quote name='Bigwan' timestamp='1387543488' post='2313144'] ...and as if by magic Ashdown are showing off a drophead 15 on their Facebook page today. 10" speaker though. Think I'll have myself one of those if the price isn't barmy... [/quote] Tasty isn't it? Want want want.

[quote name='Bigwan' timestamp='1384375460' post='2275988'] Sorry, I should have qualified that by saying 'compared to what I could get a used LB rig for at the time'. Would love a drophead 30 for the house! Any plans for a drophead 15 with 12" speaker? That'd be AWESOME! Agreed the Ampeg B-15 price is certainly nutts, especially considering you're not even getting the original circuit design... [/quote] I believe the 15 is the speaker size not the amps wattage. So one with a 12" would be a Drophead 12. And a Drophead 30 would be H-U-G-E.

I've only ever heard a DB750 through two GS112s. Wasn't impressed.

I had one on long term loan from one of our old guitarists. I used it for everything for a year, I just popped a used SD 1/4 pounder in there and it was fine. £60 for the bass, a few quid on a scratch plate and a better pickup (if you feel it needs it) and you should have a useable bass for less than £100. Can't really go wrong.