Lozz196

I like Jerusalem, but think we should do Swing Low same as what we do for rugby, can’t see why we have different songs for different sports.

Worth checking out this (or the 4 string version if not into 5-ers)

Definitely, great quality instruments, cover pretty much anything and incredibly reliable as well.

Great little amps, easily giggable on their own, congrats

Preferable to a plague of boils................

I’ve gone for 50-105 Ernie Ball coated rounds, figure the higher gauge D & G should help on the naturally high sound of the ‘Ray. Usually use Elixirs but couldn’t find any if their 50-105s anywhere, plus EB strings on an EB bass, should work nicely, certainly sound nice online.

On Mon when I picked up my new 3-band EQ we put it through the ABM600 with the Shape engaged, Drive at midday and it sounded amazing, really rich and solid, removed the overly middy aspect nicely, probably the best sound I`ve ever had from a `Ray.

Yes, I’ve had the singles for years and although I wouldn’t put them in the hold on a plane I’d be fine with them in the back of a van - albeit packed carefully of course. In general I stand my cases up in venues due to limited storage space, a couple of times they’ve fallen over and no problem on the bass at all, didn’t even knock them out of tune. This was with the singles but the dual is constructed exactly the same.

I’ll echo the above, just bought a Mono Tick from Neil, good comms, swift delivery and packaged very well indeed.

I have one. If using as a hand-carry case from car to venue rather than wearing as a gig-bag over a long distance imo it’s difficult to beat. It’s barely deeper than a Hiscox case but you get two basses in it, leaving room for a rucksack over shoulders and something like an amp head in your other hand. Additionally at the gig itself it takes up much less room than two cases, as in many venues storage space for gear/cases is often non-existent this too is a real help. It’s also pretty darn tough too.

Sold Clarky a Sansamp Para Driver, good comms, swift payment and advised of safe receipt, something I always appreciate.

Just bought an extremely nice 3EQ EBMM Stingray from Alex, am well chuffed with it, and as I collected it we had a good chat about all things bass as well. Nice guy, great transaction.

Bought a 3EQ ‘Ray earlier, from our very own @alexa3020, tried it out through his ABM600 & matching 210 and it sounded awesome, even at living room volume. Gonna use it in my classic rock band I think.

Yeah, when I was gigging a lot all my sound for audience came from my Sansamp Para Driver via FOH, on stage amp purely for my own ears. I’ve found over the years that when having a rig which covers the venue that having a middy/twangy on stage sound translates to a really good in the mix sound out front.

An ABM preamp pedal would be my dream, I liked the OriginAL but I couldn’t get the same sound from it as from my ABM600.

Praise indeed!

Write it a stern letter methinks Cracking looking rig, am extremely envious

I’m def not, in recording studio we always isolated the miked cab anyway, so whatever the fan is doing it’s not in the same room as the sound being recorded.

Elixir are based in the US. The US also had problems with supplies of these over the last couple of years - read about it on Talkbass. Covid affected the whole world. It’s not outside the realms of sensibility to think that a worldwide pandemic may affect supplies of items worldwide. Couple this with the changes that the b-word has undoubtedly brought items could be doubly affected, depending on where companies are based, items manufactured, supply chain routes etc. But in the case of musicians in the US unable to source strings made in the US, by a US company? Blaming the b-word for that, really? And aren’t LaBella based in New York?

I think a lot of it is the combination of an 810 in a rehearsal room, and my suspicions that said 810 is pretty ruined. As said tho, the Shape does add in a lot of extra lows so I just remove them, but it also does something with the mids that I can’t do without it engaged.

After many years of struggling with Jazzes I think I’ve finally found out a way to make them work for me. Ive never managed to set an amp to work well with a Jazz so now I set the amp the same as I would for my Precision (which with everything on the Jazz on full makes the it far too shrill on the top end for me) then use the tone & volume controls to get whatever sound I’m after. It tends to be tone on something like 75% then pickups depending on sound wanted. I’ve always been an everything on full kind of guy but am finding this is really working and am now - at last - understanding the versatility of the Jazz bass.

Well I’ve just decided to buy another. My last few have been maple fretboard, and I’ve found them to be very “toppy”, something I just couldn’t eq out. Given that I’ve just returned to my rosewood roots on Precisions for pretty much the same reasons, and really enjoying it btw, I thought get a rosewood fretboard Ray, see if that makes a difference. Hopefully will pick it up next weekend.

No worries Clarky, as requested. Only thing you can’t really see from the pic is the Shape function - I have this in the out/selected position. This is with it connected up to an Ampeg 810 so lows might need increasing with less cabbage. Edit - please ignore the gratuitous toe shot, thru just get in everywhere!!

Yeah years ago in a punk covers band one band member was always saying we shouldn’t gig for £250 as we were easily a £400 band. We agreed, go get us the £400 gigs. Still waiting……

He really is a crazy mofo