steve-bbb

Mine is an old matrix and as such is a complete dog because it’s been through so many basschatters since it came out of Colchester and is covered in small bumps and lumps - in some ways I prefer this to a pristine top end status because I can use it as a working gigging bass without worrying about it unnecessarily

its a status , should be fine, you could drive a bus over it

*Korean

i havent got a clue... i just turn up and play

[quote name='DorsetBlue' timestamp='1509984266' post='3403025'] My band played their second gig on Saturday night, our first paid one (previous one was for a charity). The actual gig went well and was well received, with the lady whose Wedding Anniversary it was (we play 50s and 60s R&R) thanking us at the end. The gig was a little hard work for the money though, as we were playing as part of an entertainment package along with the drummer's DJ sessions. So there was a lot of waiting around for our set and then a little afterwards, before we could pack away. All in all, we were there for 6 hours. I think we should probably concentrate on pub gigs from now on. The main lesson learnt though was.....don't leave your Helix turned on unattended (the DJ/Drummer put his kit on auto-pilot for a while). When we went in to get ready for our set, someone had fiddled with my settings (probably one of the lady's young grandchildren) and I just managed to get it back in a reasonable state (there is a foot switch still assigned to some unknown function - which seems to do nothing when pressed) ready to start the set. Last issue was the volume knob had been turned down - DOH! [/quote] we recently had a large barn gig and during the interval a rather hyperactive three year old took a shine to the drum kit so to keep him away from the guitars and keyboard our drummer sat him on the stool and gave him the sticks - he thrashed around for about two or three minutes but was an absolute natural and hit every single drum clean on the sweet spot

fine if you spend your time sitting in a luxury acoustically marvellous studio environment making technically excellent recordings in a venue with the rest of the band all honking away gradually cranking your master up to keep from being drowned out by the guitarist .... can you really tell? does it really matter?

ok putting this in here as seems most appropriate forum .... sooo.... our singist has one of those little white TC HELICON boxes, in theory and on paper it is a lovely little piece of kit - however in practice, especially in live gigging situation, it is an absolute f(*^@$%*&%^(@*ing nightmare has/does anybody a- have a singist who has managed to tame one of these little white devils? b- utilised alternative hardware to similar effect? TIA

[quote name='BigRedX' timestamp='1509444612' post='3398883'] It sounds a s though you have two separate and only slightly inter-related problems here. The nut should be glued in place to stop it from moving. The string tension should be sufficient to hold it in place most of the time, but anything that could potentially suck away some of the string vibration energy like the nut being loose and moving should be avoided. Secondly you need to wind the string right down to the bottom of the tuner post on the E and A strings to get the best possible break angle over the nut. This is why I don't like instruments with non-angled headstocks. Finally IMO the main reason for having a zero fret is to give a more even tone between the fretted and open strings. On a fretless bass ideally you would want the nut material to match that of the fingerboard. And as has been said the nut slots should be just above the surface of the fingerboard for the best action on a fretless. [/quote] off to get some decent glue i treated myself to a large radiused sanding block recently so will give it a light cosmetic clean up while at it too

[quote name='KiOgon' timestamp='1509440356' post='3398836'] A zero fret on a fretless would need to be practically zero height to get a decent setup. Not only pointless but technically it wouldn't still be fretless would it [/quote] i would havde thought it would be equivalent to the cut depth of the slots in the current nut no?? (which is not down flush with the board) must admit ti didnt sound flubby before the latest new string change so im guessing the most likely culprit is the string tension from the break angle not holding down the loose floating nut it wasnt originally loose it was very lightly glued down - the current nut is a new one which i had to get after i modified the original one to accomodate the larger guage of black nylons to try them - and then decided i didnt like them on this particular bass so had to get a new nut to go back to regular guage

anybody done one or converted? any reasons not to? my fretless vmJ has a 'loose' nut which just sits in the slot and slides out is this intentional to allow unencumbered fretboard dressing with a radiussed sanding block? could it be the cause of my flubby sounding open E (given that there is not much pressure from the break angle over the E) ? secondly ..... there is enough fretboard behind spare behind the nut to move it back 5mm or so and install a zero fret ? what are you thoughts fellow basschatters?

i will be schlappin da bass with The Kick-Backs (well maybe just a little on Luther because how can you do Never Too Much without any slapping or popping at all?) come along and point and laugh yes it IS a school night, but... no excuses because its a nice early 5-7pm

relaxing having a cup of tea???? good god man id be frantically scrubbing the whole place with wire brush and dettol by now

greetings from the mud flats of the medway delta

fwiw my personal pref would be black or white

warwick

f*** em

[quote name='wateroftyne' timestamp='1507565927' post='3386383'] Is there a possibility that he's just not cut out for this music lark? [/quote] sounds like ideal drummist material

[quote name='ambient' timestamp='1507806477' post='3388062'] He was terrified before the performance. Richard Branson had to bribe him to perform by promising to give him his car. [/quote] the thought of bribery by richard branson has just put me off my breakfast thank you

yes you can get smaller lighter in a class D depends if you need those 1x12s to shift some air or just sound pretty - if you want that sort of preamp tone but compact and lightweight then check out the hartke 600w class d i run my LH500 through either one or two 4x10s or a pair of 1x12s - it can fill a good size space and even has enough punch to carry open air too failing that if you want something you can carry easily how about a barefaced active sub run direct from a sansamp or ampeg DI box

iRig and use amplitube with iPhone/iPad ?

active pickup ?

so... i shielded out both of the J's and discovered that my plucking hand thumb and finger making occasional contact with the pole pieces was causing mahoosive amounts of earth hum - so i contrived a heath robinson affair of lining the cavity with shielding tap AND using some shielding tape to touch the underside of the pole pieces and also then contact with the pickup cavity - result quiet as a mouse no hum - the whole affair is kept in contact by means of pressure exerted from a large wedge of high density foam under the full lenght of the pup question is, should the pole pieces be grounded like this? it has stopped the hum so didnt really question it before but seems a bit contrived so guessing it might not be a thing ??? or should i have insulated them completely from the shielding tape in the cavity luckily the other basses have covered pickups so no problem of sausage fingers contacting the pole pieces but the J's have exposed pole pieces - but then so does my sberg electra and thay doesnt seem to have any earth hum issues when touch the pole pieces tia