Highfox

[media]http://www.youtube.com/watch?v=kjflLRJGt4U[/media] Edited for my dyslexia

[quote name='highwayman' timestamp='1455957320' post='2983878'] Thank you for the replies all; my favourite bass sound is Paul Raven's from Killing Joke's 'Night Time' - I know other factors such as amp, etc influence such things but that would be my ideal if that helps? [/quote] Thought he was a Wal man, always was when I saw them live!

2 band for me as well please.

[quote name='lowhand_mike' timestamp='1455893097' post='2983391'] you gotta live with it and be happy seen with it so yeah looks matter buts its got to play well too [/quote] +1

I tried this with my 500 v3 combo tonight, and with the gain all the way off (anti-clock) you could still hear the bass, not muted at all. The bass's volume or tone didn't start to alter till I turned the gain past 1 0'clock. Guess they are designed that way. Like others I use my tuner to mute the bass when it's not needed.

I'll also check it tonight.

Just read about this, very sad

[quote name='synthaside' timestamp='1455184967' post='2976709'] ha ha , twin-cam , that's exactly what I'm considering I have a Trace SMX GP 7 combo which is 300 watts or 500 with the 15 inch expansion cab ... i'd been looking into gettin a class D head such as a TC or perhaps even Orange bass terror . I love my trace but its old and as heavy as plutonium , I do like the tone and i like the fact that i can pretty much treat it like dirt / not worry about It living at the cold studio but yet still rely on it to do what it needs to to on stage. Also 300 watts of trace as we well know is not 300 watts in other peoples money ;-). Someone should really organise some form of event where ... people could bring there things and repsective basschatters could try differnt amps and instruments , perhaps hosted in a school or other location ... ;-) .... what would be a good name for such an event .... bass boogie .... bass bring and buy ... maybe bass bash ;-) [/quote] Many moons ago I used to run a TE 300w GP12 410 combo with a 15" extension and play at silly volumes( 2 guitars with Marshall 410 stacks on full tilt) the thing kicked like a mule , you could somehow always feel the bass but not always hear it (if that makes sense)? The Rumble 500 with the 210 extension goes louder than anything I will ever need these days and seems to have more clarity and definition ... Simple to use and easy to get a good sound out of, unlike the trace that I never stopped fiddling with and even after 10 years or more with it could never get the sound I wanted out of it.. Played with a Warwick Streamer, Wal and Ibanez Blazer in those days. Would I go back to a trace, even if someone else was carrying it, no way lol.

Nice congrats. Please pm me if you're ever thinking of moving it on. Rick lust again!

[quote name='TheGreek' timestamp='1455117274' post='2976082'] I thought that Norm was really ill and that it didn't look like he was going to pull through.....has there been an improvement in his condition? [/quote] Tell us more. I know he played Sweden last weekend?

[quote name='Me And My Bass' timestamp='1455112567' post='2976006'] Anyone played one of these with an extension cab other than a fender one? Tempted by the SWR 18" on sale here, placed under one of the rumbles. [/quote] I used to use mine with an Aguilar GS112, worked ok, but get a sound I prefer using the 210 rumble extension. They pair-up nicer imo.

Nice. Can't go wrong, mines been faultless. The only trouble is once you've used it with an extension cab, there is no going back!

I never get tired playing sweet gene vincent. Norm takes it easy on the recorded version but goes bonkers if you see them do it live. Good excuse for some rock n roll! Jaydee and all http://www.youtube.com/watch?v=7ldcRcBedGo

Yes, I use the tone a lot on the P.. more thump or more clang, something in-between, fingers, thumb and pick, Not sure anyone else notices tho lol.

The Clash, always had time for their fans. Some big ego's at times but always had time for the young kids (like me) Strummer in his older age wouldn't leave the venue till he'd seen everyone that wanted to meet or speak to him.

I worked on making video shows from pop/chart stuff to what was heavy metal during the 80's and early 90's we had musical guest's in from whatever was happening (selling) musically at the time... From Ozzy to Madonna, The only pains in the arse I remember clearly was Sting and Terrance Trent Derby and a few of the one hit wonders . Of course I only saw them on a professional level, but most seemed fairly down to earth and happy with their lot.

Here's a bit more info... http://www.redbullmusicacademy.com/lectures/trevor-horn-buggles-in-the-bassbin-2

[quote name='Mykesbass' timestamp='1454710349' post='2972394'] This was all a bit of smoke & mirrors to get past the Musician's Union, who insisted that the musicians got paid to re-record the track, so as soon as TOTP had booked the acts the record companies rushed to recording studios, would set up, the MU rep would turn up, see everything being done as per their agreement, at which point the plugger would take the MU guy to the pub, and when they returned a nice freshly copied tape would be handed presented to the rep and used on the BBC. I had a big run in with the BBC, Sony Music and a very well known manager over a set of tapes that were supposedly "live at the BBC" but which Sony paid a musicologist who proved the tracks were the original masters. The BBC were furious, and denied this could have possibly happened, and yet it was a well known practice throughout the industry. [/quote] I can well believe that. I worked for many years with one of the guys that Directed TOTPS during the 70's 80's and 90's and to say he made sure he covered his own ass would be an understatement. We all know now the BBC wasn't as clean cut as it made out at the time.

I could be wrong but I think for live a top of the pops a re-recorded live version had to be submitted, normally recorded at a BBC studio and then mimed to . Not sure what year that might of changed but I know it still went on in the 80's. Think the Whistle test was the same in the 70's.

Sorry to hear this. It's the nightmare we all fear when posting or waiting for a bass to arrive. Hopefully you'll get fully reimbursed.

It's funny with me that I just can't be without a Stingray, I hardly ever use it live with the band I'm with atm, but love it for recording and noodeling. I've had 3 and each time I have sold one, I just had to get another. Lesson learned and one will always be close. Try one if you can first, especially with a band and see if it fits your sound. They are by nature fairly in your face soundwise imo.

[quote name='cameltoe' timestamp='1454328814' post='2968565'] They are completely different. It's hard to think of what actually is the same other than being made in Mexico. Try it and see if you prefer it though? [/quote] I'll echo those thoughts, the RW's are very different to the standard Mexican models, selected dried woods (very resonant, normally light weight, that accounts for a lot of the extra cost over the standard MIM's even the 50's Classic's) The fit and finish is perfect even if it's been roadworn No sharp egdes on the frets, smooth necks, couldn't fault mine at all. As I have said many times before I actually prefer to use it over my 69 and 74 MIA precisions. (and those aren't dogs)!

Nice, liking that.

As has been said using your ears will get you there. It's always play and adjust when I use my MM Stingray, they have a lot of range and that can be a pian if you normally like to just turn it all up. (like I do with the Precision)

UK artists but recorded in the States, hope it counts, Combat Rock or Sandinista - The Clash