neepheid

[quote name='TheButler' timestamp='1364466203' post='2026793'] Been using my Harley Benton for ages now (can't remember exactly when I got it, roughly a year ago). Its played 100's of gigs, varying sizes and hasn't let me down once. I'm going to grab one of their cabs and sees what happens. Would be really interested if folks shared their EQ/knob-ey settings [/quote] Pic as promised:

[quote name='MoJo' timestamp='1365487029' post='2040123'] never palm mute [/quote] Well, it's not going to bother you much then

Very dodgy - it's the wrong way round

Further thoughts on the matter: I've seen people coax fantastic playing out of Squiers and bottom of the range Yamahas and they don't sound like they're feeling inferior. In fact, these are the players I respect (and fear) the most. They're not interested in the minutiae of bass gear and just want to play. They're comfortable with what they have and they know how to make it work, y'know because they're good players. Are they going to sound significantly better because they've "traded up" to a Fender or a top of the line Yamaha? I highly doubt it. They sound good because of themselves, not their gear and are not interested in the security blanket of acceptance/validation because, basically they don't need or want it, don't play with people who make a big deal of it and let their fingers/picks do the talking. Also, I took a big risk and gigged my G&L Tribute L-2000 at the weekend. How odd - it sounded great and it didn't break down or spontaneously crumble into dust because it wasn't made in the USA. Yes, I know that was bitchy. But like I said, it grinds my gears.

7th generation Honda Civic 3 door hatch for me. With the seats down, it's like a small van. Plenty gear fits in there.

Well, this fairly grinds my gears. It is what it is and it's either good or not good, and furthermore I'll be the judge of that, it's me that's playing the damn thing. The badge is irrelevant. I have Gibsons, I have an Epiphone. I have a USA G&L, I have G&L Tributes. I have Yamahas, no "golden age Japanese" ones, sorry, they're all made in Taiwan. Oh well, they must be crap then. So no, I'm not a badge whore and to think you can be judged musically before you've even played a note is such a logical incongruence it isn't even funny. Bassism. Funny how that rhymes with a more socially unacceptable form of discrimination. With that in mind, the "gear police" can naff off. I wouldn't want to play with people who listen with their eyes. To kow-tow to this attitude is to lend it credence. Stand up for your bass, and yourself!

I agree that it's unnecessary to categorise songs by suitability for gender of singer. Either it works and sounds good or it doesn't.

[quote name='gary mac' timestamp='1365149042' post='2035863'] G&L SB1 well worth a look. I love Fender P basses but these days always seem to opt for my SB1 when gigging. It's passive but the pup is extremely hot. [/quote] +1 for the SB-1 (which I believe is available even though it hasn't reappeared on the website yet), but if you want a slightly more trad sounding G&L then you could try an LB-100 - [url="http://www.glguitars.com/instruments/USA/basses/LB-100/index.asp"]http://www.glguitars.com/instruments/USA/basses/LB-100/index.asp[/url] Don't rule out the SB-2 - it may have 2 pickups but the controls couldn't be simpler - 2 volumes. I think the idea is that you predominantly favour one pickup and dial in various degrees of the other kinda like a tone control.

Plugs take time to get used to them. Put them in, it'll take a few rehearsals before you retune your ears. My only problem with them now is getting a handle on how loud I have to be when I'm speaking.

I have 9, and I don't feel in the least bit bad about it. They all get played.

Local shops can bog off, they've never done anything for me. They even, through the mince amp they let me use managed to put me off a bass which I now own and think is great. Screw you, shops.

+1 - I've tried 3, including a rather lovely and quite big bodied Takamine - all utterly useless in the face of a single acoustic guitar unless amped, and then you might as well use an electric bass. Only useful for quick unamped, unaccompanied noodling (which is fine as this is what you appear to want to do), or plugged in where you absolutely MUST look like you're playing an acoustic instrument for appearances sake. The only way to adjust the action is to file the saddle. So in that sense setting up is more tricky, yes. Feedback when plugged in will always be a problem. Can be mitigated by one of those soundhole inserts, I believe. I don't need to go down this route any more - my Jack Casady is loud enough unplugged to hear, despite it having a fairly small body, acoustically speaking, and it's also a kick-ass bass plugged in. Also don't go too cheap. For my first experiment with acoustic basses I got a cheapy 50 quid thing and it was worse than awful - terrible frets, piezo pickup was quieter on the A string than the others, the chances of getting a good 'un at this price point are quite small. I gave mine away in the end, I couldn't bring myself to charge anything for it, it was that poor. If you're going to do it, spend a little more getting something half decent like an Ibanez. You won't play an instrument you don't like playing, regardless of how handy it is.

[quote name='TheButler' timestamp='1364466203' post='2026793'] Been using my Harley Benton for ages now (can't remember exactly when I got it, roughly a year ago). Its played 100's of gigs, varying sizes and hasn't let me down once. I'm going to grab one of their cabs and sees what happens. Would be really interested if folks shared their EQ/knob-ey settings [/quote] Gain set as high as is appropriate for the bass (tweak the clip light then back off a little) - usually about 3 o' clock Boosts off - High and Low both about 1 o' clock EQ on - sad face slightly favouring low mids Colour (when switched on) - about 8 o' clock for some footswitchable old school thump Contour ON (very important - so much mids without it) - about 1 o' clock I'll take a picture later, that'll be easier

You'll need to find something as pliable. To be honest, if that's the strings he wants then it would be worth it to wait for them, as I don't know of any which are as bendy and compliant as Thomastik flats.

Panel mount/solder tag or PCB mount?

[url="http://www.bassesbyleo.com/allen_wrenches.html"]http://www.bassesbyleo.com/allen_wrenches.html[/url]

More cons than pros there...

[quote name='arthurhenry' timestamp='1364923322' post='2032724'] Removing a Badass II and replacing it with the stock bridge has left 5 exposed screw holes behind the bridge on my '97 Jazz. [/quote] So someone drilled new holes for the Badass? That seems ... unclever, unless I'm missing something here.

In my opinion, mostly snake oil. More expensive pots ought to be able to withstand more twiddling over time and maybe feel a bit smoother in their operation. The tolerance of the more expensive pots ought to be smaller than cheaper ones, which simply means it's more likely that a 500k pot is closer to 500k actual value. Other than that, I don't buy that using a paper in oil capacitor of the same value over a, say, polyester one is going to unleash some mythical tone beast that was lying dormant inside your bass. Also bear in mind that when your tone control is at 10, the cap is (pretty much) out of the picture anyway.

That's a nifty challenge. So far I've managed ... 4 Scottish council areas (Aberdeen, Aberdeenshire, Highland, Glasgow). Must try harder

[quote name='oggiesnr' timestamp='1364904823' post='2032355'] It's a Catch 22. There comes a time when you have to put your prices up or you go under. Shops are under the same inflationary pressure as everyone else. There's no point selling basses (or in my case jigsaws) if you're making a loss. Most shops have done the obvious cost reductions by now, laying off staff, reducing inventory etc etc, in the end you can be left with little option. Steve [/quote] Tough times. It'll probably end up being a case of survival of the most conservative during the boom years. By the way, I never said anything about making a loss. That would be daft.

[quote name='bertbass' timestamp='1364903375' post='2032330'] You could try something like these. [url="http://www.ebay.co.uk/itm/2-set-Guitar-Bass-Neck-Joint-System-INSERT-SCREW-i-/390343756347?pt=UK_Guitar_Accessories&hash=item5ae24d0a3b"]http://www.ebay.co.u...=item5ae24d0a3b[/url] [/quote] Both the bolt on Gibsons I've had (Victory, G-3) have had this fitted as standard and the RD Artist has these sort of things for the battery compartment screws. Threaded inserts are nice, especially for situations where frequent removal and replacement are required.

[quote name='oggiesnr' timestamp='1364887647' post='2032101'] The converse being that if companies don't make a profit they go bust. In some businesses there are other options, change product lines, manufacturers etc, but if someone wants a Fender they're probably not likely to accept a substitute so as a retailer you're between a rock and a hard place. Running a business costs money and there's only so much margin you can squeeze before you no longer have a business. A weak pound means that, irrespective of what Fender do, dollar goods are becoming more expensive and at some point that has to be passed on. Steve [/quote] All I'm saying is that above inflation price rises are not sustainable in the current economic environment, regardless of their motivation or cause. This point is particularly important for retailers of non-essential goods (into this category, much as we might protest, musical instruments fall), as these are the first to get cut back on when the axe has to fall. Who knows how long this economic stupor will last?