fretmeister

2nd rate solos! Very true!

Embrace the space. Improve the composition- bassist needs to listen to more Jack Bruce and less Adam Clayton. Build the sound and arrangement from the ground up so bass drums and vocals could carry the tune alone then the guitar is always an embellishment. Guitar player to be more aware of chordal structure and not just go off in a pentatonic widdle fest. Interact with the bass line, use double stops, and rests to give even more space to give contrasts of loud and quiet with the solo. Rests / silence are some of the most powerful composition tools. Not every thing has to be a wall of noise. SRV / Hendrix / Kings X etc etc all sound great with sparse arrangements.

Q: can I have a go on your bass? A: Only if I can have a go on your woman. Does the trick.

I don’t think LP / Strat makes a blind bit of difference if the arrangement is right. I say that as someone who was the guitarist/ frontman in a 3 piece for years. As it happens I find LP more comfortable to play but the rest of the band thought the strat sounded better with more clarity and note definition giving a richer sound rather than just all the mids.

That’s an arrangement / composition problem not an instrument problem.

The Financial Times has an article a little while ago stating that the chip shortages are expected to last well into 2022. Until then the scalpers will be using bots to buy anything they can and sell it at massively inflated prices.

Well, after this thread I dusted down my very dusty P bass and tried it in my new amp. Just after I had decided to sell it... It sounds amazing with the Tech21 amp. Damnit!

I have a Helix rack and I think it is the single best bit of kit I have bought in 35 years of playing. Amazingly versatile, brilliant for thrashing out new ideas and brilliant for proper recording. I love it.

Me, last time...

I really want one. I saw Nathan Navarro's vid and there was one sound that I like so much I'd pay the price just for that tone. At least I would If I hadn't just paid for a car service and MOT.

I tend to go bass > envelope filter > octave > compressor > drive.

Your sustain knob will either be a Ratio control or a Threshold. Different on different makes - and I hate that they don't label them properly! Adjusting that with the attack control might let you reduce the nastiness a bit, but possibly at the cost of not quite having the effect you want from it. A good isolated power supply can work wonders though. What drive pedal are you using? They are often the worst offenders for background noise - sometimes they are making it, but also they are massively boosting any noise that exists in the system before it reaches the drive pedal - as far back as your pickups. I went EMG + posh power supply many years ago and I can't see me going back just because of the noise issues.

Normal behaviour for a compressor. All the low stuff gets boosted including the crap you don't want to hear - particularly for drive pedals. Could put the compressor in a different place in the chain, and also experiment with different power supplies to the other pedals to see if that helps reduce the noise they are making.

I've got a very nice American Special. It's very light (I put Ultralites on it and it's only 7 3/4 lb now), action is great, and as it is a Special the neck is a little slimmer than a regular P. It sounds just like a P bass should. But I never play it. I seem to be keeping it because there is something stupid in my head that demands that I have one, because it's a precision and all bassists should have one. Which is clearly bollocks. I really should start looking at shifting the stuff I don't play.

Jack Meoff.

I started a band where the singer and drummer were married. It was 2 men, 2 women and the them and us ended up being girls -v- boys! It was a bit weird sometimes singing duet parts with her when her bloke was on the tubs watching!

I like that logo. Definitely better than the attempts of using a Fender font to say something else. Like that god awful "Fecker Jizz Bass" that went round for ages.

That gets me too. I've never played a Limelight but people that have seem to love them. I don't know why they don't take the Sadowsky route and build their own brand. Every time someone gigs a Limelight and a punter thinks "wow - nice bass sound" they just think it's a Fender. No benefit to Limelight at all, no advertising etc. I don't get it.

Equity and the Screen Actors Guild have a requirement that nobody else is using the same name - does the MU have a requirement like that at all? I'm guessing not, but curious.

This is exactly why disclaimers don't count. The first seller might well be entirely honest - the next time it is sold the seller might not be. Limelight's back of headstock marking doesn't protect them at all. And they are doing it for financial gain - it's a business!

I've used one of those. The Pitch Correction bit is optional on it. The best thing about that pedal is the EQ, De-esser, and the compressor. Those are the things that any PA system should be able to deliver if the person controlling it knows what they are doing. I did try the pitch correction on it when I had a bad cold, but it was weird so I knocked the high notes down to something easier to hit instead. The Pitch Correction in that pedal is very gentle indeed even at high settings and won't correct properly bad pitch. So just get whoever does the "great PA" to learn what they are doing!

My recently obtained Tech21 VT500 has a fan but it is speed controlled and at home TV volumes it doesn't come on at all. I've not used it next to a drummer yet to see how annoying it gets at proper volumes. Have to wait for September for that.

The legal position is very clear. You can put any logo on your own instrument. You cannot sell that instrument, even with a disclaimer, as that is selling a counterfeit. No ifs or buts. Disclaimers do not change the status of the item. The item itself, at the point of sale or beyond is liable to confiscation and destruction. The intent of the person selling is irrelevant to confiscation / destruction (hence disclaimers not having any effect at all as to the status of the item) as it is the item itself that is counterfeit. The intent of the person only becomes an issue if they knew they were selling counterfeit goods and that can open the person up to liability for a simple refund or worse if it looks like a business. Fender own their own IP and get to decide who can use it through licensing arrangements. Fender do not sell logos individually to the public. Every logo you see that is not on a genuine Fender product, or is still on the waterslide sheet is a fake logo. Obviously Fender go after the big producers of counterfeit instruments rather than little guys like Limelight but there is no doubt at all that Limelight are breaking the law if they don't have a licensing agreement with Fender to use their logo, and anyone who sells a Limelight onwards is doing the same. Several other, larger forums have an outright ban on all counterfeit instruments similar to the Ricky ban here. I know of one forum where they got proper legal advice on the point and then made that change as the owners of the forum were concerned about being dragged into any litigation by an IP holder (like here for Rickys). So the OP's poll is missing a bit really - in all circumstances it turns what might well be a fantastic instrument into a counterfeit one and at risk (no matter how small) of being seized and destroyed.

I've had a variety of small cabs before and my favourite was the Barefaced One10. I had a pair for a while and gigged them. At the time they were the very lightest cabs - I'm not sure of GR now make an even lighter one, but I have no experience of how they sound. The One10 has quite a traditional sound. I only sold to get a Super Twin - sometimes wheels are just easier!