dmccombe7

Liking that a lot. Dave

Agree LED the way to go. I bought my DMX desk from Thomann and its pretty good but takes a bit of work to set it up initially. If budget limited then i'd look at the 4 light flat LED packages. Not sure who has best prices these days but Ebay is always good for a start off if you want 2nd hand. Thomann are usually good too. (Always remember there are charges if you pay by credit card) Try GAK in UK as they also have a price match thing you could try against Thomann. I bought 2 off my stands from Maplins. They can form a goalpost stand at rear of drummer if required. You can set individual LED lights to run a slow fade colour change and cabling is pretty easy too. Dave

Poor show but take the positives from it. You've gained a lot of production and rceording experience from using them. I would try to accept what has happened and just move on to the next project. There's always something new on the horizon. Dave

[quote name='spongebob' timestamp='1481563292' post='3193317'] Deep Purple when the great Tommy Bolin was a member, 'Come Taste The Band' has always been an album I adore. Miles Davis with Dave Holland. Mahavishnu Orchestra. That's me all out! [/quote] Deep Purple today with Steve Morse being American.

Couldn't put in order as mood would change them around a bit but in order i liked a lot down thru influence to main influence here goes :- 1. Jack Bruce 2. Gedy Lee 3. John Wetton 4. Glenn Hughes 5. Richard Sinclair (Camel) 6. Dick Cadbury (S.Hackett) 7. Gary Thain 8. Dave Hope (Kansas) 9. Jeff Berlin 10. Alain Caron Dave

I've never seen No6 style before using the side of the 1st finger. Need to give that one a try but most of the others i do but use my finger nails too and my thumb as a pick in some cases. Only occasionally use an actual pick. My thumb nail is usually kept long enough to get away with it. Nice WAL bass there too Dave

[quote name='Woodinblack' timestamp='1481460425' post='3192401'] dont' think I could get away with that in the living room. As it is there is a strict rule against sunburst or other 'ugly guitars' - they are regulated to the hangers upstairs. [/quote] Ouch !!!! there go my feelings straight of a dodgy wall hanger Its the spare room or better known as the bass cave. Can't beat some nice bursts. You are lucky. All of my basses are relegated to the spare room. Never in living room. Apart from wife having a fit the cats would make a scratchy out of them Dave

i put mine up on a length of wood that was rawl plugged to the wall and longer screws into the wooden battens behind the plaster board. That way it evenly spaced out the load along the length of the wall. I didn't think the rawl plugs alone would take the weight of a decent bass or my 6 stringers. [attachment=233748:The Bass Room 004.JPG] Dave

Was looking forward to reading the review which has described the amp very well however the soundbits aren't available now. Shame as that would have let me hear exactly what we were all talking about. I've used the AD200b with an Ampeg 8x10 and was stunned with the tone and was hoping this might produce similar tone without the unreliability of all tube amps. Dave

My goto bass is my Geddy Lee Jazz. I've tried using my others but keep going back to my Jazz but normally this is how it works before returning to my Jazz 1. Jazz 2. Overwater J4 3. Warwick Thumb NT 4. Dingwall NG2 and back to 1. Jazz My fretless basses only get used for special projects that require a fretless or a 6 string. My Dingwall NG2 is kinda in that category too but is just a really nice bass to play but has a distinct grunt that doesn't suit most bands. Dave

I tried a Spector and didn't like the neck. Can't remember which model it was but it was 2nd hand just over £1000. Its difficult to explain the neck feel but plank sounds apt to me. Not sure if it was because the neck edge was sharper than any of my own basses or the width or depth was quite different. It just felt rigid if that makes sense. Yep i know al necks are rigid but some feel more plank like than others I didn't but it and went for a Dingwall instead. Some Sandberg basses have that same feel but others don't even tho they are same price range so not sure what Sandberg are doing with them to make them have that different feel. ??? If someone could explain what i'm talking about i would greatly appreciate it. Otherwise i'm talkin P**h Dave Dave

[quote name='molan' timestamp='1479253419' post='3175179'] Warwick don't use distributors in the UK (or anywhere in Europe that I know of). All sales are direct to dealers from Warwick in Germany. It's not difficult to become a dealer but margins vs final sale price are high and they are very slow moving. The full German models are astronomical now and the Pro Series Czech/German ones just seem in much demand so hardly anyone over here is sticking them. [/quote] Got the shop names from the Warwick site dealers page. I don't know these shops personally but having looked at their websites while answering the post the bass lounge site looked quite good. Maybe i've used wrong terminology and should have said shops rather than distributors. Dave

Wunjo Guitars Denmark St in London and the Great British Bass Lounge in Manchester are the distributors and might stock them Last Scottish shop was when i bought mine from Sound Control back in 89. Probably better buying a 2nd hand 80's one if you can get it. I had a Streamer II for few months as a loan while waiting on my Thumb bass and both are excelent with fantastic necks. Dave

I started with a new band few weeks ago that have their own small PA (bass Cabs with top end on poles from the bass bins - typical set up) They have only used it at rehearsals with reasonably moderate to low volumes. I had assumed the guitarist who bought it was well versed with PA's as he seemed quite confident. Last week he had trouble with feedback and he said he didn't know that much about PA's. I used to hire them out years ago in 90's with couple mates so knew a little about them. When i looked he had too much high end on one of the mics. Reduced and that sorted it out. Long story but my main point was the Low end filter button. I had never seen that on a desk before so when i punched it in the full pa sound just tightened right up and i was totally taken by surprise just how much it affected the overall sound quality. The PA at moment has been set up with everyone thru it to see how it all sounds but for rehearsals we have only left the vocals thru it. The post above is far most explicit but just shows you are never to old to learn the new technology used as standard on PA desks. Dave

I experienced this with my Jazz bass too and did find with everything at same settings all i did was turn the amp master up a touch and i automatically started to play lighter to keep the volume right for the band mix. That stopped the dying note syndrome i had. I did try other basses at same settings before and after and all sounded same both before and after master volume raised. I then found that i had to also adjust my tone by reducing the amount of bass and i have ended up with a SAD face set up on a graphic rather than a smiley face. All this advice was via the amazing BC'ers that responded to me query. I went thru the usual suspects of thinking it was my pick-ups failing, action too low, problem with the amp, compressor failing, leads failing and nothing helped until i put up for discussion and all sorted. Occasionally i forget usually when using someone else's amp or studio amps and i start playing too hard again rather than just turning the amp up. Its easy to fall into this when you set up at start and guitarist starts to increase his volume or drumer starts playing louder and all of a sudden you are too low and you start playing harder. Dave

Once heard a female singer doing Rush covers and they were exceptional. Heart Pat Benater Lita Ford

[quote name='skej21' timestamp='1478430889' post='3168966'] I have the ACS Pro 17s and love them too. I used Thunderplug Pros for a while which did the job but weren't very comfortable. I even wear my ACS plugs in the cinema now after finding some films intensely loud and researching to find that the volume levels regularly exceed 90db (which is dangerous when exposed to for long periods of time) and as a regular cinema-goer, this caused me just as much concern as rehearsing/gigging! [/quote] Have to say i've not been to cinema since ET movie came out. LOL Dave

[quote name='FinnDave' timestamp='1478429908' post='3168958'] You're most welcome, and the Road King is a great bike. I've got a Wide Glide now (95th anniversary edition) but haven't ridden it yet as still recovering from an accident last year, but will have the earplugs in under my Davida when I do! [/quote] I had the Davida helmet and altho well made was very tight fit and kept most of the noise out. Think i remember your posts from last year when you had the accident. Well i think it was you. My Road King is the 2003 anniversary model. I just bought new Shark Classic open face helmet with the drop down "pilots" visor and its so light compared to the Davida. Has to be the best fit helmet i've ever tried on to be honest. Dave

[quote name='ivansc' timestamp='1478422079' post='3168903'] Nobody mentioned THE white boy who sing de blooze? DELBERT [url="https://www.youtube.com/watch?v=q7tFeVLNH5E"]https://www.youtube....h?v=q7tFeVLNH5E[/url] [url="https://www.youtube.com/watch?v=hU1qxGEtdzs"]https://www.youtube....h?v=hU1qxGEtdzs[/url] I never heard this genre referred to as funk blues before, but I`ve been playing it and writing it for donkeys years. Welcome to the club! Also Tony Joe White. A lot of Ry Cooders stuff. [/quote] Some of the suggestions i feel are either more rock, blues or country. The funk-blues is really a title to capture a couple of styles rather than a particular one off style. The funk for me is the Robert Cray style or the Doobies Long Train Runnin where the bass (for me) has a nice groove feel to it. The Bonnie Rait material i have heard is more country feel to me altho i have heard some songs from her that had that funky groove type bass. I'm not sure its everyone's interpretation of funk blues and that could be another topic for discussion and could or would make an interesting topic i think. Its a kinda hard thing to describe the difference as many styles or bands seem to cross over between all of them at times depending on thge song they are playing. Dave

[quote name='FinnDave' timestamp='1478421805' post='3168900'] Which ones did you get? I have the pro 17s and they made a big difference on the bike - I collected them ACS on my Super Glide and they suggested using them, the ride home was a revelation, I could hear the bike and other traffic but the wind noise was almost zero. I really ought to get a second pair, I dread getting to a gig and finding my plugs are still at home, in my riding jacket pocket! [/quote] The 17's too and i ride a Road King Classic. Great to get some feedback on using with a Harley as the open face helmets can be a bit noisy at times. Will need to keep it in mind not to leave them in my bike jacket Thanks for that. Dave

Just got my ACS ones delivered and can't believe how clear things sound with them in. Great fit. Will try them at next rehearsal to see how good they work. All in all so far i'm pretty pleased with the service. Bad news is the reason i bought them was the drummer in new band was loud but his snare is apparently tuned high and it was this singular drum that was painful at times has now been sacked for not showing up at rehearsals. He had a history of this before i joined. Good news is that the new drummer is far more technical than loud and the full band now plays at a more respectable volume that doesn't really need earplugs for rehearsals anyway. Still i can use them on the Harley Dave

Would seem a bit odd that you are getting lights on with the battery connected but just not working. Can't see it being a bad battery cable connection and sounds like its more to do with the circuit board. Some units the power socket disconnects the battery supply and might be a bit of dirt on the power socket internal connections. Out of curiousity have you tried it with the battery again since using the power supply ? Dave

I've only failed one that i can remember for a gaelic folk band that i wasn't really sure suited me. There were 3-4 bassists auditioning for it. When i arrived and was setting up the females in the band were discussing openly in front of me how the guy before me was ideal for the band. Kind of deflates you a bit but i carried on regardless. Got on well with the songs but as expected didn't get it. The guy before me got the gig. A year later the band had the audacity to tell me he had left and would i be interested in auditioning again. I said no and told them my reasons from previous audition and that i did not appreciate them discussing how well suited the previous bassist was for the band while i was standing there. Discourtious and disrespectful and i wouldn't work with people who had that attitude. I've had loads of auditions since restarting bands at age 50 after 25yrs lapse. They vary from hard rock to Glam, tribute, Blues, Prog and currently doing a Funk Blues band with guys who are older than me but are so relaxed its just great fun and no added pressure from ego maniacs. That and the fact the bass lines are brilliant. I don't do backing vocals either and its never been an issue for most bands but that would depend on type of band i guess. Dave

Dr John ...... a classic. That will be a def i think. Chris Duarte is pretty good. not heard of him before. Albert Collins seems to be a popular choice too. Will sit down and make a list from all the suggestions and go thru them. I honestly can't believe the number of suggestions i've had and the interest in this style of music is quite refreshing and good to know people out there want to hear bands do it. The replies are coming in faster than i can listen to them all Thanks again everyone Dave