Jakester

[quote name='EmmettC' timestamp='1457048737' post='2994930'] I assume everyone who is out gigging had public liability insurance, you get it free with MU membership, the insurance won't cover you if you're equipment isn't PAT tested. It's a big risk going out without insurance, there's such a large risk of someone getting injured because of your gear, particularly during get-outs. [/quote] Can I just point out that the comment about the MU insurance is unlikely to be right. ICOBS (the rules that govern how an insurer deals with its customers) require that for an insurer to decline a claim for a breach of a policy condition it has to be connected with the loss. So perhaps if your gear electrocuted someone, you'd never maintained it and could not show you'd ever thought about the risk then you might be in trouble, but just because you haven't PAT tested your amp (which as I said above is NOT a legal requirement) the MU's insurers could not decline cover where, for example, someone tripped over a cable.

PAT testing is only required on equipment provided by an employer to employees. It's part of the employer's duty of care to provide safe working equipment, but the actual testing is not legally mandated (but an accepted way of proving it is safe to use). There is no legal requirement for anyone to PAT test equipment they use themselves or no requirement (beyond it being a condition of entry) to ensure gear you use at a gig has been PAT tested. However, you owe the venue owners a duty to ensure your gear is safe, and a PAT test is arguably a way to show you've done that.

I have the same amp, and as mentioned above you can't add another cab as it's running at 4ohms already. Oh, and you'd have to use the DI out into the instrument in of the second combo - iirc they don't have an fx loop so your sound would be affected by the eq of the second amp.

I put one in a mex and a jap and they were both amazing. Just watch the depth of the rout as it didn't drop straight in into one of them.

[quote name='Beer of the Bass' timestamp='1454601926' post='2971259'] Then I glued the baffles in place using woodscrews to keep everything in place. When the glue is set I'll take these out and fill in all the holes with dowels. [/quote] At the risk of exposing my naivety, why would you remove the screws?

Grayn, I agree tort (or possibly parchment/mint) would work, but as a proof of concept I think it works well. Here's Mcnach's original thread : http://basschat.co.uk/topic/233062-designing-a-pickguard-for-my-gl-l2000-what-do-you-think/page__fromsearch__1

I've long been a G&L enthusiast - over my limited bass-playing career I've owned L2000 and L2500 tributes, and a USA L2500, but each time there's been a reason to part with the instrument - for the L2000, it was the neck, for the L2500T it was an inability to get to grips with 5 strings, and the USA was simply down to lack of use not justifying owning such a lovely guitar. Each time I've managed to sell it to someone on here and I recently snagged an M2000 Tribute at a great price, and the neck is absolutely amazing - exactly what I was looking for with the first L2000. Unfortunately although I love the playability, the looks are a little prosaic for my taste. It just looks a little 80's with the plain white finish, so I've been after a pickguard for it, but there's nothing off the shelf. Then I saw Jose (Mcnach) selling the custom scratchplate he had made for the L2000T I sold to him and it seemed like fate! It arrived, and it breaks up the all white body nicely, but because it was designed with the L2000 controls in mind, it slightly fouls the volume control - nothing a couple of minutes with a file won't sort. Still, looks good! I may stick with it for a while and then possibly use it to get a tort plate made down the line... *edit* sorry for the pics being at 90degrees - not sure how that happened!

How did it happen? The hi-hat is a pretty stable thing with a low centre of gravity. If he kicked it over I'd be inclined to take a chunk out of him (speaking as both a bassist and a drummer) but I struggle to see how it could just fall over?

Ooh ooh me too me too! I have an M2000 that'd look spiffing with a red tort guard on.

Bought a Glockenklang pre-amp off Lee for a great price, posted quickly and v well packed - thanks!

Bought a Hipshot BT1 off Dave - posted as soon as the Post Office opened and arrived the next day - thanks!

I have a Rockbag one and it seems fine, although the shoulder strap has a buckle right where it hangs on your shoulder. Bit of gaffa over it sorted any problems though.

[quote name='cheddatom' timestamp='1448378651' post='2914902'] I've had a couple of experiences like that in the past Jakester - one engineer refused to let me use my distortion pedal on bass! I was young and so just huffed and put up with it, but I should have walked out without paying the guy. [/quote] Again I think it just comes down to ensuring your expectations are matched by the sound guy. I can see that if you were an unknown quantity and rocked up expecting to use the studio's bass amp and cab for heavy distortion without having discussed it first then the studio might be justified in having qualms. So in answer to your question, what I'd be looking for is a good chain of communication so that all parties knew where they stood.

I've done a fair bit of recording for a weekend warrior. All of mine has been as drummer though, but I think the point is as valid for any instrument or ensemble - it's all about the sound. I've had two good experiences and the rest vary from mediocre to downright awful. The bad ones were because the engineer wasn't prepared to listen to us (and me in particular) about the type of sound we were looking for. I have pro gear, well maintained and tuned that sounds like drums. I wasn't prepared to cover it with tissue, tape etc just because the studio was more familiar with Pinstripe heads. At the places it went well, the tech was prepared to listen to me and accept that I was right about how my drums sounded. One in particular said it had been a learning experience for him too. It's galling to be paying money and then be told you don't know what you want. So for me it's a willingness to work with the band and not simply stick to what you think is right.

Yes, if I still find I'm struggling the next step is a preamp. There are Delano ones mentioned on another thread which look good. I couldn't find any drop in pups - as mentioned above I think it'll be custom shelled ones which could get very spendy.

Just an update to this. Finally got round to doing a pot swap to 500k pots. First impressions are that the output is increased - obviously there was no way to back to back A/B the changes, but the output now seems to be on a par (or slightly stronger) than a passive jazz. Certainly you don't need to wind the gain up a much a previously (unless you want to!) and to my ears there's more body to the sound - a fuller tone from both pups but particularly the neck - sounds much 'growlier'. If you're struggling with one of these I'd say a pot swap is a cheap way of improving the sound.

[quote name='BILL POSTERS' timestamp='1447182486' post='2905653'] A 1X15 PA cab landing on someone has the potential to cause life changing injuries. Apart from the moral responsibility, you have a duty of care. Insurance companies are all crooks, if they can get away without paying because you were negligent, they will. "The 7ft high, wobbly, two hundredweight top heavy box balanced on a tripod, with one of its legs on the dancefloor was only going to be there for 3 hours while drunks dance and stagger around it" would do you no good in a courtroom when read out by the lawyers for the HSE, or by the no win no fee lawyer for someone in a wheelchair who is going to spend the rest of their life with the consequences. [/quote] Sorry, but this is cobblers. The very purpose of public liability insurance is to cover you if you have been negligent. That is the very definition of public liability insurance. Ins co's might not have the best press, but their reasons for refusing to pay are usually relating to the person insured failing to advise them of material facts, or fraud. It's very difficult these days for an insurer to decline a claim. Speaking as a lawyer who deals with this stuff day-in, day-out, using a product in the way the manufacturer intended within the recommended design parameters is unlikely to land you in court. Balancing said 15" speakers on a table without any form of restraint, on the other hand...

[quote name='DarkHeart' timestamp='1447151765' post='2905234'] G&L's have chunky necks or at least the L2500 ive just got does. [/quote] The L2500 Tribute I had was too chunky for me, but the USA one I got a while later was thinner front to back. The L2000 tribby I had for a bit was possibly thicker again, but the M2000 tribby I have now is more jazz like, so make sure you get the chance to test one out. I also have an early 90's Warwick Streamer Std and to me it feels thin, but other people said it's quite fat.

[quote name='BILL POSTERS' timestamp='1447103912' post='2904958'] You cant protect everything, but I'm never comfortable with heavy stuff like speakers on tripod stands in pubs where the stage is often not big enough. so the stand goes where people can get to it. Its a nasty accident, and a big claim, just waiting to happen. If you cant tie it to a pillar or something, much better put on a table or a crate. Doesnt look good but safer. [/quote] I once did a gig where we had some large full range 15"s and for reasons that escape me now, the only way they could be set up was on tables from the venue. Half way through the first set one of them had vibrated it's way off the table and narrowly missed a young boy dancing in front of the band!! Speaker stands all the way for me...

[quote name='EssentialTension' timestamp='1447089652' post='2904753'] Personal liability insurance ... including for when the PA falls on someone and they sue you. [/quote] That's for the band's liability to someone else. Don't be surprised if you do try and follow it up to be on the receiving end of a claim against you for injury sustained as a result of tripping over one of your "dangerously"* sited stands... *ie you and I know it wasn't, but she'll still try it on...

I used a Radial Bigshot IO when I had one active and one passive bass: http://www.radialeng.com/bigshotio.php It lets you trim the levels of one instrument and has a separate output which can go to a tuner, or other amp etc. An alternative would be to get a line level mixer such as this: http://www.thomann.de/gb/racksized_mixers_19.html?oa=pra Though might be overkill for what you need.

Gah, why didn't I know this was on? With missing this, and also Nathaniel Rateliff last week I'm feeling quite grumpy.

It'll be a bit expensive to buy a wench just for truss rod adjustments...