mcnach

Probably the same as always... they'll have a decent PA, right? Or maybe even less, as the monitors will probably be decent, so my pedalboard and bass is all I need.

Multiple preamps are ok, and a lot of us use them (onboard, in the amplifier, some on pedals...). Just be sensible. You can boost the hell out of each of them, but you probably won't like the result.

Thank you thank you thank you all for all the various bits of information The shaft issue, as long as they're not too long, is ok, I can always find suitable knobs for them... in fact I probably have a bunch of every kind in my box of parts.

I have this 5-string Harley Benton Stingray style bass which is passive, with 3 controls wired Volume Volume Tone, like a Jazz bass. I'm not a fan of the VVT controls in general, and in this case I find I only use both coils full, or only the neck-facing coil which adds a subtle but nice variation. I'm thinking about rewiring it with a single volume and single tone control, and substitute the last potentiometer with a switch for series/parallel/single-coil(neck facing one). I'd like to keep the same appearance by using a rotary switch... trouble is I have no idea what to look for. There are a lot of switches out there. Has anybody done this or otherwise know what would be a suitable switch to use?

PM'd. And this is his site with his details: https://www.mcintyreguitars.com/

Thank you @jezzaboy I did that to my Matt Freeman Squier Precision. Twice. First configured like a Jazz: I took it to Chris McIntyre here in Edinburgh to route the bridge pickup, get a new pickguard made, and move the jack to the side although you could easily just add another hole to the front and keep the jack socket on the front too. Then I installed a pair of DiMarzio Area J, which I prefer to the Nordstrands I had originally. Later I decided to move the neck pickup closer to the bridge. I just had a new pickguard made and did the additional routing under the pickguard myself with a couple of chisels and care: As a fan of the Jazz bass sound but not of the larger body and skinny neck, I also ordered a Maruszczyk Jake like that: But I ended up preferring the modified Matt Freeman, which cost me very little to transform. Start with a nice Precision, and just modify it to taste.

Well, I love his tone. But I couldn't finish watching that video (I didn't find it funny) and I don't get the whole knob/no-knob thing either... :shrug:

I'll file it under 'M': More things I will never understand.

Yup, it's the others' fault. Of course. edit: 😉 (it reads very differently if I don't add this, sorry)

Fantastic video, thank you for posting it!

Like this: (my menacing face? I'm pretty sure someone was saying my bass was not low enough )

Generally about the same as if I were sitting down, maybe a tiny bit lower. If I wear it low I have to bend my left wrist in ways that make playing harder for me. I could probably play root 8ths all night long, but it's a handicap. Looks good, but I want to be comfortable.

This is what you give to someone who approaches you 10 minutes before their set "mate, is it ok if I use your amp, I didn't bring mine because I was too busy having tea across the road while you were setting up".

Just don't touch the red button

Sounds like a lot of BS. Ignore and move on, don't engage, they'll trap you.

I used a battered but effective Peavey 410 cab for years. Cheap and ugly. I still don't appreciate people treating it like a garbage bin or spilling beer on it or resting their muddy feet on it. It's me who has to take it back home, it's me who has to clean it, and smell it. The cost of gear is not a factor. Lack of consideration, however...

In my old RHCP tribute band we coordinated socks... 😛

Ok, so you agree that there's something about the sound of your SR300 that is not quite what you want. That's ok, check other basses around, but I'm positive you don't need £2000/2500 to get something that will sound the way you're after. No need to go 5-string either if you don't need a G string.

Probably with laughter Then more laughter when pointing out the price. But there must be a story somewhere. Why does the guitarist think you need another bass? (I assume it's the guitarist, I can't imagine anybody else ever caring ) Many years ago I was in a Red Hot Chili Peppers tribute band. I started with my Ibanez SR400 (P/J) and a Warwick Corvette $$ (dual MM style humbuckers). Guitarist commented a few times that it would be cool if I used a Stingray. Singer (who is also a bass player, agreed). No pressure, no telling, just good nature comments. I hated the look of Stingrays so I dismissed it entirely. A few months later I happened to find a very reasonably priced OLP clone, and I bought it just because. To my surprise, I fell in love. A few months later I bought my 2002 Stingray and it's been my #1 ever since (I left the RHCP band in 2014). Sometimes it's good to have an open mind and try things... the issue I'd have a problem with would be 1) being 'told', 2) possibly the reasons behind being told, and 3) being expected to spend a large sum of money.

Sometimes I get the same 'hmm, er...' about using my own amp or whatever. You go a long way by being nice about it and fluttering your eyelids Levels, EQ... THAT's what we get a sound engineer for! Make them earn their fee! I'd still want to use my own, but bringing a pop filter sounds like a very good insurance policy to have indeed. It's hard to generalise, some festivals are barely justified the name, while others are very well organised and more ready to work with you. Typically the more they pay you, the more they work with you. It's a jungle out there.

I can't imagine anybody would object to your using your own microphone, to be honest.

I have indeed one of the Session Model T ones, is that what you're after? I don't have it with me, my trumpet player borrowed it, but I can ask him to measure it.

It depends. Chances are it's ok, but it is a thankless job: you show up the first and leave the last... fine if it's by choice but you'll be hostage once you accept. That alone puts me off a bit. There's also the possibility of damage, so who is responsible? If I know the organisers well enough and I talk to a specific individual whom I trust, it can be ok. Otherwise, I don't think so. One thing is letting another band use your gear, which I've done many many times, and another to provide your gear for everybody to use over a whole day. I'm unlikely to be there all day watching so I'd probably say no in that case. edit: when I talk about damage, it's not amps/cabs blowing or something, which is a possibility but rare. What I see very often 'though is people being careless with drinks, mud (festivals!) and all sorts of behaviour that I don't want around my gear which ends up back in my room at home. While the majority of people are fine, I don't want to give that significant minority a chance and I want to enjoy the festival too. It's not like they wear T-shirts announcing "yup, I'm the silly billy you've been looking for". I don't understand what's so difficult about either 1) for the organisers to provide equipment, or 2) for people to bring their own. Any event incurs some costs, add equipment hire to the list: they'll pay others, why would they expect bands to offer free hire? Also it doesn't take much effort or time to set your own amp in place, usually less time than it takes for the drummer to set all their cymbals and adjust the kit, so the whole 'saving time' just doesn't cut it for me. It really depends who is asking and the circumstances, really, but generally no, because generally it is a lazy excuse and nobody is really going to be responsible for your gear should anything go wrong.

After playing the 5-string amost exclusively since I got it, I was going back to my 4 string Stingray and I felt a bit... naked. Strange.

Oh, nice one! Prices have gone up a lot on these in the past few years, dang I should have kept the 3 I owned a bit longer! A Stingray in everything but name, great choice!