fretmeister

I've never seen one before! I like that a great deal. Especially with the bridge in a more guitar like position.

Gary Willis Henrik Linder Billy Sheehan really - his new Dimarzio's are shaped to be a ramp. He used to do that with epoxy on the pickup top. Nate Navarro on some of his basses

@Andyjr1515 made it for me. I've got another bass to measure up so he can do another one for me.

Middle aged people become old age and the young become the middle age. Have to update it at some point.

Assuming basic performance competence, the USP of a paid covers band is the set list. A band that keeps up with the latest hits as well as keeping the classics will get more work, and keep a wider audience age range. The classics to me are not the same songs as the classics to a 20 year old. Being able to chuck in a few No1 singles from at least the last 6 months is always a crowd pleaser.

I'm not convinced anything should need to be 'overcome' when a better pot choice at the design stage would have never caused the problem in the first place.

A Sandberg TT4

On my bass. Another one on the way.

I had a vertigo which I sold as it was surprisingly heavy. I now have the sleeve. Happy with it. Much lighter.

Yeah - that's more what I need at the moment. I really do miss my AO though. Just a shame the prices are a lot more than when I last had one!

It really depends on the gap between the notches. I had a notched volume on my Ashdown RM800Evo2 and the gap was massive. Only 1 notch between too quiet and deafening so then I'd have to use the Input control as the volume, but that lowers drive levels. I sent it into Dave Green at Ashdown to replace the pot with a smooth one (which he did for free - what a star!). I had seen some comments about the Orange Little Bass Thing having the same issue - Too quiet and then Too Loud in 1 notch. I didn't know if the Terror Bass had the same system or had a good old standard smooth control.

Lovely! Thank you.

I've got the Vintage Microtubes now - goes dirtier than expected, especially in the mid range, but it's not a modern metal sound like the B series. At some point I'll get another AO and between the 2 of them I'll have everything I need covered.

I bought Nazzer's Darkglass Vintage Microtubes. Great communications throughout, and it arrived this morning, nicely packed. All good.

The Tech21 BDDI and the clones are not really high gain either. They are based on an overdriven Ampeg rather than distortion. Their dUg and the Steve Harris pedals get really filthy though. And the Darkglass Alpha Omega has a lot more than the B7K does. As it happens I used to have a B7K and a B3K at the same time and despite DG claiming the drive on both was the same I always thought the B3K got more dirty.

There's a big shortscale thread with loads of ideas in it. Worth a look. Lots of options. My shorty is a cheap Jim Deacon P bass. It was a bit neck divey so I put some Hipshot ultralights on it and an Aguilar 60s wind pickup. It's a great bass. Really thumpy big tone. Those basses come up on here or Ebay at about the £100-£150 range depending on condition. If you get a good one then it's definitely made well enough to be worthy of upgrade parts. I'd like a Fender JMJ as well though!

I had La Bella White Nylons on a Zon Hyperbass. Amazing sound.

Do these have notched controls? I'd just seen a classifieds for a different Orange amp and it mentioned notched volume controls. Do Orange do this on all their amps? I quite fancy trying a Terror Mk2 but if it's got notched controls then it gets crossed off the list. ta

I assume so - mine does that.

Who mentioned nice or nasty? Wasn’t me.

I’m the quiet one. But even for introverts there’s a difference between close friends and the rest of the world. Close friends get to know the real personality and accept it.

I am often painfully introverted. There's no conflict. When I'm on stage I'm performing a role. it's not "me" anymore. Just like a certain Freddie Mercury (without the talent).

Ed Friedland posted a couple of things on his Facebook recently about the realities of being a professional sideman. He had made a comment about his boss in The Mavericks having the final say on the bass tone and even the preferred look of the instruments for gigs. Loads of weekend warriors went nuts about how that was disrespectful and that they would walk from such a gig. Absolutely none of them gave any thought that Ed's gig is a job as a bass player playing the band leader's music, and that the band leader was his employer. Even when he laid it out as having the same sort of responsibilities as any other job and relationship with an employer there were still cretins suggesting that he start making demands! There's a reason he's had that gig for quite a while - he plays what he's asked to play when he's asked to play it. He's a solid and reliable employee. He admitted there were loads of "better" bassists than him, but clearly those better bassists have no idea what 99% of music jobs are - a job with terms and conditions like any other. Turn up on time, work, be pleasant company or at least not annoying company, get paid, and go home without causing problems for the boss. All that sort of thing is far more important than being able to sight read Classical Thump.

No it isn't. Every bit of evasion leads to higher taxes for the rest of us. Tax rates are set in part by reference to those who will try to evade. So the rest of us are your victims. Yes. It is morally and legally wrong.