mcnach

[quote name='gjones' timestamp='1509002256' post='3395852'] I would have rephrased the message you sent, in order to prevent his ego being bruised. After all nobody likes rejection. I would have said that the original guitarist has decided to rejoin the band and tell the auditioner that they were amazing and thank them for their time. Guitarists have fragile egos at the best of times. It's best to treat them gently. [/quote] The original message was very non-judgemental! Nobody likes rejection, but it's a risk we all run when going for a test with a band. I'd be respectful and won't criticise but if someone is not what I'm after I won't make up lies just in case he's a lunatic with a fragile ego

[quote name='tauzero' timestamp='1508966983' post='3395751'] So, does anyone know what the E stands for? [/quote] !!!!

New project being formed... we have a first meet and see what we feel like. The core is drummer, sax and bass: we play together in another band and we're starting something else. We got a singer and a guitarist to try. Both looked good on paper. Singer was very good. No problem. Guitarist... was knowledgeable enough, and his technique was right, but pretty much only played a couple of bluesy numbers, and murdered Brown Sugar with excessive distortion and a bassy guitar sound. In general he was out of tune too. We didn't gel, musically or personally. He would argue about keys, despite the fact that the singer had specified the keys for the songs with discussed... He was just hard work, not fun, and musically uninspiring at best. And a bit of a 'guitar hero' too... After we part ways, we talk about it and we unanimously decide that we don't need to see this guy again. Drummer writes a simple message to him along the lines of "thank you, but we think you're not what we're after, good luck, etc". Nothing offensive or anything. Then the guy just went on and on about how we feel threatened because he is better, and he's got so much experience, etc etc. He sounded insane. He was a little odd in person, but after I saw that... I was very glad we didn't waste any more time with him. Seven or eight messages later, he disappeared. I hope for good. I laughed but... it was sad. He was genuinely feeling hard done by and tried to insult us (must try harder)... and somehow we are idiots for not recognising his value and not wanting to play with him. What planet does he live in? Immensely deluded. A bullet well dodged. Has anybody come across people like this guy? It's a first for me.

The Marcus Miller link would not help them if the instruments weren't good, just look at what happened to the Flea basses. I suspect most people buying Sires don't care particularly about MM.

Quite a bit. On stage it's great even if not required to be very loud. I've used the pair on big stages where they were just for monitoring and I have always been happier than when using just one. Unnecessary at times, but they're so easy to take anywhere that I'll use a pair whenever logistics are favourable. Having said that, on Friday I played a small bar with my 6-piece ska band using a single Two10, and it was just fine. When relying on them, without PA reinforcement, two cabs vs one makes a very noticeable difference. Why are you wondering? If you wonder, I guess you feel you wish you had a bit more 'oomph'... in which case you'll probably like the effect of a second Two10. Do you still have the A3? My pair of Two10 cabs fit snugly in the boot, with room for amplifier, pedals, stand, etc...

[quote name='Jus Lukin' timestamp='1508687892' post='3393807'] *Camera pans out, it's a dude with his beard draped over his shoulder* [/quote] I'd still take it if he can carry my cabs too (but I'm not responsible for his drinks/food/accommodation, right?)

[quote name='thegummy' timestamp='1508600206' post='3393235'] Already having a 50s P with flatwounds and it's absolutely fantastic but very much vintage based. If I wanted to get a second P to string with rounds and possibly a more modern pickup, I can see a few choices: [b]Squier Classic Vibe 70s[/b] - looks nice but I fear Squiers can be a bit internet-hyped and, while amazing for the money, don't actually rival guitars twice the price. For example, I looked for a second hand one and the honest seller admitted that one side of the neck has more of a bow than the other - something I'd wonder it might be more prone to because of the cost-cutting. [b]MiM Standard [/b]- comes in a choice of colours and could choose Rosewood fingerboard if I wanted. I could replace the pickup. [b]Roger Waters [/b]- this one looks very nice stock (and Waters is my man) with the black hardware and already comes with the pickup I'd choose for this bass. It's still more expensive than the Standard and the pickup together but it might be the case that the build quality is better on this as it's a higher end one from that factory. Any thoughts on those 3 or further suggestions? I had a look at the Schecter Diamond P and was initially loving it but then I read people who own them saying they don't actually sound like a P bass. [/quote] The Roger Waters (or Matt Freeman, for a slight variation with the same built quality) would not disappoint. Great basses. But I'd personally choose a second hand Fender Classic 50s series Precision. My fiesta red one is on my avatar (just replced the golden pickguard for an 'aged' white type one)... The neck is a bit wider than on the other Precisions, yet shallow and comfortable, and it feels and sounds just perfect. If a slightly wider neck is not a problem for you, I'd say the Classic 50s Fender would be the best choice I can think of. Comes in black, cream, red or sunburst.

[quote name='Telebass' timestamp='1508501998' post='3392622'] Thinking of moving to a pair using my LMII to drive - good plan? Need to ease my back even more! [/quote] I sometimes use an LMIII into a single Two10 (which would be pretty similar to two One10 together. They work very nicely together. The question is moving from what. How powerful you need this to be? It's pretty loud and beefy, more than its size would have you think, but it's still a smallish cab, so as long as you don't expect Ampeg 810 levels and 'heft' you might be ok.

[quote name='chris_b' timestamp='1508605482' post='3393300'] Can't answer your question, but one of the new features seems to be an HPF which might reduce the "farty noises". //www.gollihurmusic.com/product/1825-EUPHONIC_AUDIO_DOUBLER_MARK_II_BASS_AMPLIFIER.html [/quote] +1 using a HPF has been a revelation for me... In fact, rather than buying a new amp, I'd probably try getting a little adjustable HPF pedal first (Broughton Audio make one for around $90)... edit: so you already use a HPF. Then I suspect the speakers are the limiting factor here... you might just be running into their limit and a more powerful amp would not help.

[quote name='dannybuoy' timestamp='1508523803' post='3392801'] Trace Elliot Elf or GK MB200 - both will fit in your gig bag, or even your back pocket! [/quote] does it come with that case?

[quote name='lou24d53' timestamp='1508685336' post='3393762'] I went into Guitar Guitar in Glasgow on Friday, but as expected, none in stock - wanted to try one out. I'm sure the difference will be noticeable, but I also suspect it'll will be manageable - used to play 5-strings, so I'm no stranger to a wide neck. The the only time I really struggled to adapt to a neck width was with a Lakland 55-02, I bought it knowing it was a struggle but convinced myself I'd adapt...which I didn't...! [/quote] Oh, I had a 55-02 and I loved that neck, by far the most comfy 5er I'ever tried. If you're in Edinburgh in the near future, you're welcome to come and try my Classic 50s Precision.

Before I bought my first BB2, the 210MNT was in my list too, as well as a Schroeder (I forget the model number). Jorg Schroeder was VERY helpful and we exchanged several emails. He was also offering to make import costs a lot more palatable out of his own initiative The only reason I didn't go with him was that the shipping costs would be too large if I decided it wasn't for me and wanted to return it. I had owned a Schroeder cab before and I loved it... and I like the guy... but in the end it was between BF and VK. I went with BB2 because of their returns policy, and because I managed to try one locally and I liked it a lot. So I bought it, and was happy enough with it. Later on I got to hear/try a pair of 210MNT and I think they were more my thing, but a pair of BB2 were mighty enough and didnt feel like changing. However I never was in love with the BB2. I no longer own the BB2 pair, and have a pair of BF Two10... and these ones I do *love*.

[quote name='lou24d53' timestamp='1508487939' post='3392476'] Was hoping it was going to be positive feedback...! I'm taking a wee trip into Glasgow later to meet a mate for a few beers after work, so I'm planning on popping into Guitar Guitar first to see if they have any in stock to give them a wee try......it says awaiting stock on the website, but still, any excuse to visit.........initially I was looking at the black / maple but now I am being drawn to the sunburst more......and I've never (ever!) owned a sunburst bass in my 25+ years of playing...!!! As one who has mainly played and owned Jazzes over the years, my only concern[b] is the thickness and width of the neck......[/b] [/quote] It is going to be... noticeable wider! But it's relatively shallow too, which makes it very comfy for me (and my hands are not big)... I find I adapt pretty quickly to the wider spacing and then it never becomes a problem.

[quote name='JohnFitzgerald' timestamp='1508599924' post='3393232'] Backstage pass, fed all day, backline rider, experience of a lifetime. My rig was an SVT classic, as is the standard for these things. Backstage, there was a spare SVT - identical to the one on stage, just in case. And had the unimaginable happened and the spare had broken down, there was a third identical SVT classic stack. Just in case... [/quote] and then you went and broke a string and you neither had strings or a backup bass...

and as much joy as I derive from playing... one word: Drunks. I detest drunks who lose their senses. Which is a tough one when I spend so much time playing to people who get a bit drunk but most are ok. However, from time to time, the annoying drunk is inflicted upon me. Yesterday, it was two drunks. Loading the van. The two drunks go to cross the street between our van and the car parked behind. They see the back doors open and one of them dives in and grabs a case (a sax, it happened to be). I was right there... so I took it from him and pushed him away while yelling at him. Then the stupid conversation starts with them "not meaning anything"... I just want them gone. So I very clearly state my position. They insist in talking bullshit, so I push BOTH of them back. They don't like it. They keep trying to talk. I keep telling them to go away and don't come closer. By this time band is behind me. One guy gets a little aggressive so I drop my bass and take off my jacket and I tell him if he gets closer to me I'll feel threatened and assume he intends to harm me and I will hit first to defend myself. That's a very clear warning and seems to do the trick. For a bit. He goes away. He comes back... I'm getting really pissed off, I have no time for this crap, it's almost 3.30am. He came closer again and I almost hit him, I visualised where and how I was going to hit him, but fortunately I kept some sense and just pushed him away again (he was that close)... I really do not want to be seen as the aggressor if it comes to that and he was not really being dangerous, he was too drunk for that... but he was not drunk enough to not be a royal pain in the arse. Drummer and trombone guy get in, and a random passer by who saw the thing from the beginning, a big guy... together we seem to convince them to walk away and not come back. Why? What makes anyone behave that way? The amount of bullshit they'd talk... uff... I saw you getting into the van and grabbing one of our cases: there's nothing you can say to convince me that it was an accident or that you meant well. I give you a chance to walk away before getting hurt... and you still want to argue with me that you didn't mean anything, and get upset because I'm swearing at you to get you OUT of my space? I've been drunk MANY times, but I have never behaved in such a way. Alcohol is not the root cause of the behaviour, I'm convinced, it merely amplifies idiots' ability to show their true colours. Ugh. Still... it didn't entirely destroy the night for me. I had two gigs with the same band, a single set at 9.30pm, at a local fest in town, and then another between 00.30-3am. The first one was a bit quiet... but we had fun and was a great warm up... the second one was a blast. The place was packed and the atmosphere was fantastic. This was with Urang Matang (ska/reggae) and it's probably the most fun gig I've had in the past year... a couple of idiots afterwards will not spoil it for me.

[quote name='FinnDave' timestamp='1508456368' post='3392395'] Just back from a mid week gig in Oxford. Fourth time at this venue this year, and by far the biggest audience. Lots of people dancing, very uplifting gig. I played my new Fender Classic 50s Precision, through an Ashdown Rootmaster 800 and Super Compact - and it sounded epic! Also tried finger style for the first time in nearly two years, after a motorcycle accident left my right hand damaged. I tried using the knuckle joints with the hand flat on the bass rather than having my hand at almost right angles to the string and using the finger/hand joint. Amazingly, it works and I got through the entire gig without a pick! So much easier to control my sound. So, a significant step for me tonight. [/quote] Great to hear! Both on the Classic 50s Precision (I haven't gigged with mine in a while and your thread made me start playing it at home again... I should bring her out soon!), but also and more especially on the playing progress after your accident. I have never been in a situation where my playing would be compromised due to injury, but I know it would affect me a lot, I derive a lot of joy from playing bass... so it's great to hear that you're continuing to find ways to adapt.

[quote name='FinnDave' timestamp='1508456368' post='3392395'] Just back from a mid week gig in Oxford. Fourth time at this venue this year, and by far the biggest audience. Lots of people dancing, very uplifting gig. I played my new Fender Classic 50s Precision, through an Ashdown Rootmaster 800 and Super Compact - and it sounded epic! Also tried finger style for the first time in nearly two years, after a motorcycle accident left my right hand damaged. I tried using the knuckle joints with the hand flat on the bass rather than having my hand at almost right angles to the string and using the finger/hand joint. Amazingly, it works and I got through the entire gig without a pick! So much easier to control my sound. So, a significant step for me tonight. [/quote] Great to hear! Both on the Classic 50s Precision (I haven't gigged with mine in a while and your thread made me start playing it at home again... I should bring her out soon!), but also and more especially on the playing progress after your accident. I have never been in a situation where my playing would be compromised due to injury, but I know it would affect me a lot, I derive a lot of joy from playing bass... so it's great to hear that you're continuing to find ways to adapt.

[quote name='LukeFRC' timestamp='1508309761' post='3391167'] Every Fender Jazz bass I've owned, and I've tried a few... Sound brilliant Look even better Love the sound... Play in a band with them and I'm like, "argh where's that nice sound gone?" I want to love them, but can't [/quote] +1 Jazz: It's a bass I pretty much only use at home. In the band I just don't get it quite right: Stingray or Precision for me. Warwick Corvette $$... a 2005 model with a crazy thick neck. It sounded great but that neck... it had to go.

I hated Precisions for many years. My first 'real' bass was a Jazz and I chose it because especially coming from years of guitar, the neck felt a lot more comfortable, and I liked the range of sounds... the Precision on its own was pretty ugly (I thought at the time). I still love the Jazz sound... but I grew to like Precisions and I actually prefer the wider necks, and at some point I even started liking the sound of a Precision alone. No idea how or why. In the end, I started liking Precisions more than Jazz. The Jazz sounds great at home, but in the bands I play in the Precision works better. I ended up preferring a PJ to either Precision or Jazz, but with a humbucker (two bridge J pickups together) at the bridge: The sound with both pickups together is not quite as sweet as that of a Jazz but it's pretty good, and the double J at the bridge is meaty and balances very well with the P. And the P is... well, a P. Still... give me a Stingray any day

[quote name='The59Sound' timestamp='1508258640' post='3390956'] My Jazz could knock any P for six. It plays better, it sounds better and is more versatile for different genres. [/quote] I like balanced statements like this But then I'd probably say something similar about my Stingray vs any-other-bass... It's funny how in the end people prefer very different instruments and we all make them work in whatever it is we do with them. We like to over think things here at BC sometimes

[quote name='Highfox' timestamp='1508171282' post='3390236'] That's exactly it for me as well, in fact I moved my J on. Prefer the feel of P sized necks. [/quote] Same here. I recently had a bass made that was essentially a Jazz in a Precision body/neck. I've just sold it. I liked it but I realised I prefer a P or a PJ when it comes to that. There's something about the Precision pickup alone that I really really like, and anything else is nice to have, but I want that P sounds and the Jazz doesn't have it. However, I have to say, if my only bass were a Jazz I'd still be happy to play it. It's not like I hate the Jazz...

[quote name='Conan' timestamp='1508221660' post='3390526'] That's played on an 8 string? Wow! I always assumed he used an octaver... [/quote] I love that sound... dang, now I want an 8-string? really? Does GAS ever end????

[quote name='FinnDave' timestamp='1508185154' post='3390392'] Just been playing it for the last 45 mins or so, sounds and feels great, love the wide neck. Just held a standard Precision pick guard up to it and there are more holes than the metal one currently fitted, so I'm curious to know what you are using instead. I think it would look great with a tort guard myself. [/quote] I just ended up drilling extra holes as I could not find a perfect fitting pickguard.

[quote name='FinnDave' timestamp='1508166649' post='3390193'] Went for a drive and ended up in a music shop (no surprise there!) and came home with a new 50s Classic Precision. I do like the same 7 1/2 radius fingerboard as on my classic Jazz, so hopefully the wider-than-a-standard-Precision neck won't be a problem... Interesting drive home (an hour or so) under darkening and strangely coloured skies. I stopped at my local guitar tech's place on the way home, he likes the new Fender, and I collected the EB-4 he's been setting up for me. So I discovered that two basses in gig bags fit easily into the passenger area of my MX5! All I've had time to do since getting home is change the strings from the factory rounds to a set of chromes. I'll plug it in and play it this evening, and gig it on Thursday. Assuming this one's a keeper, there'll be a US Standard Precision on the market soon... Obligatory pic: [attachment=255702:IMG_1056.jpg] [/quote] Nice! I have one of those in fiesta red (actually on my avatar right now, I just replaced the golden pickguard for something less cold to the touch ) I love the wide neck. It feels very comfortable to me, and it sounds great too.