neepheid

[quote name='jamesbass116' timestamp='1380872737' post='2231659'] No offence to the other guys (everyone's allowed their opinions) but [b]I really don't think they "get" the effort that has to go into playing live and adding lots of extra instruments[/b]. Especially for a mainstream band where everything has to be clean and shiny. People need to understand that the only time aux instruments are really used anyway is for the bigger gigs because it's rarely practical for them to be used all the time in the smaller venues around London. I know I'd rather see 4 guys enjoying themselves and still playing their songs completely live apart from a few keys/horn parts than god knows how many people crammed onto stages just for it to be "authentic". That's such a prudish and snobby way of looking at live music. Live music is constantly developing and people need to come to terms with that. [/quote] I get it. I'm in a band with keys, sax and trombone. It does take extra work, but I don't find it difficult because we're all competent musicians and I find the results most satisfying. As far as I'm concerned, no backing track can make up for the sound in particular but also sight of someone playing the hell out of a saxophone, or nearly decapitating someone with a trombone slide It's got nothing to do with snobbery. For me, live music is a visual show as well as an aural one. I like watching people play instruments, observing the mechanics of playing, gear spotting and the like. I don't go to a gig expecting note perfect renditions of pre-recorded music. I expressed a preference for seeing people doing something to create the sounds I am hearing when I go see a live band. I don't understand what your problem is with that, it's an opinion and I do not think any less of anyone who has a different opinion to me. I'm not saying you're wrong, so I would appreciate it if you could afford me the same courtesy. You're coming across to me as rather overbearing and intolerant and I can't say that I care for it.

As a punter (and clearly I'm not supposed to notice these things) I prefer people not to use backing tracks. This informs my opinion as a player too. If you want strings, get some strings players in. If you want a horn section, go get one. Want keys? You know what to do. Much better sounding and visually engaging than a backing track. I'm not looking down my nose at anyone who wants to use them, but it's not how I like to see business done.

Do know anyone in the States who would be willing to act as go between? I've done that before.

[quote name='Ou7shined' timestamp='1380573753' post='2227423'] I convey emotion and the physical characteristics of the music as part of my performance in any way my body feels fit. [/quote] That's a real posh way of saying "I loup aboot like a gype"

"Quick verdict needed" I have no advice to offer, other than the only Spector I've ever had a go of (a Spectorcore fretless) was very nice indeed.

Guilty.

[quote name='4 Strings' timestamp='1380544258' post='2226752'] Well, not mental, but they get drawn into place by tightening the screw. [/quote] Understood, but my point remains that you have to physically put the T-nut inside the cab somehow as opposed to the hollow wall fixing which is all done from outside.

Nothing new to report. I've been too lazy to send the pickup for cloning (must get around to that) and I have no further news at this time regarding the refinish. When I have some I shall excitedly let you know

[quote name='Ghost_Bass' timestamp='1380537799' post='2226637'] This looks like another good solution. To stop having the screw coming out inside the cab simply use the original one to tight the anchor and then replace it for a smaller one EDIT: To be fair, in the end this would have the same result of apllying a T-nut. [/quote] Oh, missed that about T-nuts. The only difference I can think of is that the entire installation can be done from outside the cab with hollow wall anchors, no need to get inside - surely you'd have to press/drive the T-nut into the inside face of the base of the cab, or am I being mental?

I have no axe to grind, and no experience of these cabs. This idea might be completely bogus due to the thickness of the walls of the cab, but would hollow wall anchors work in this context? They work bloody well in their native environment (12.5mm thick plasterboard) - I have my stairs handrail held up with 12 (3x at 4 points along the rail) of these bad boys. Perhaps they would protrude too much into the cab, I dunno. Just thought I'd put them forward anyway. They might go loose through vibration, but they're highly unlikely to work loose to the point where they fall out. Back in my box now

At the risk of being told (once again) that I am somehow wrong and my opinion is anything ranging from wrong to idiotic, I use the "tenner off eBay" option, the Etymotic ER-20. They take a bit of getting used to but I use them all the time at band rehearsals, playing and watching gigs. To be quite honest, I prefer how live music sounds with them in rather than out. There are two sizes, I use the small, regular ones got uncomfortable during extended use. I don't know the ins and outs of it but basically in a nutshell when I forget them, I have hissy noises in my ears after gigs/rehearsals. I don't have that if I have been wearing them and that's good enough evidence for me.

I don't see why people are getting so pissy about the definition and trying to claim the name for a subset when the term "singlecut" means simply that it has only one cutaway. If you don't like that then go invent a new word for the particular subset you mean instead of trying to push out those which quite logically and correctly fit the term. It's like saying only certain shades of blue are allowed to be called "blue" now. Pish.

Oh well, never mind about the black walnut Looking badass.

Gold, no question.

Sad face EQ in a live situation every time for me, irrespective of how I like it sounding when I'm playing solo.

I think that any functional instrument not being played is a damn shame. To answer your question simply, no, and any bass you think looks good when you're holding it will look good hanging up.

Axesrus are good because they don't charge postage - handy if you forgot a wee nick nack. [url="http://www.axesrus.co.uk/"]http://www.axesrus.co.uk/[/url]

Yup, I enjoy playing mine. Sounds great to me, nice and light so no bother during long gigs/rehearsals. Also looks amazing, particularly in blingin' gold top.

For what it's worth (owning a Fender Cabronita P and having tried a Fender Modern Player Telecaster) my preference is for the Cabronita. When you consider that the Squier VM Telebass and the Squier Cabronita P are very similar in functional terms (4 string, single pickup, volume, tone) the difference is chiefly in the pickup. You couldn't have two much more different pickups, the Fideli'tron vs. the Wide Range Humbucker! Low output vs. high output balanced output with a sweeter high end vs. HEAVY BASS It's really down to the sound you want. Wide Range Humbucker plus flats might just be too lacking in treble, even for a flatwound fan. Fideli'tron plus flats might still be too bright for your liking. But at least there's a tone knob. It's much easier to remove treble response than it is to add it. The Fideli'tron is probably the lowest output pickup I've ever worked with, but that's what your preamp gain is for.

Rich, you are an insane person. Well done That neck looks familiar. It's a black walnut veneer on the headstock if memory serves

[quote name='Geek99' timestamp='1380008888' post='2219302'] Is it possible to buy overwater bridges, pickups etc ? [/quote] Why don't you ask Overwater themselves? What's the worst that can happen?

Yamaha BB414

My wife bought me my RD Artist, so I guess that's last to go. I'd say I'm sentimentally attached to 2, maybe 3 in my collection. In a fire sale situation I guess the order would be 1. any fretless (rubbish at it anyway) 2. Any currently produced models (theory being that in better times I could buy another one) 3. G&L Tribute M-2000 (a rare, unobtainable finish combination, but I could get another M-2000) 4. G&L El Toro (because it's not a Gibson) 5. Gibsons in the following order - IV, Ripper (project), Victory Artist, RD Artist And the Yamaha BB450 would stay, despite it being a lovely bass I'd be lucky if I got £100 for it so it's hardly worth selling.

Black headstocks are for black basses and Gibsons.

[quote name='Funky Dunky' timestamp='1379592056' post='2214526'] Norris - this is exactly what concerns me about active basses. I understand some run as passive basses when the battery runs out, but most just die completely? This is a REALLY bad design, surely? I don't fancy changing batteries every other week, and you dunno how long batteries are gonna last until you get the bass and find out the hard way, huh? [/quote] Is it really that much of a hardship to carry spare batteries around? It's quicker than changing a string, especially if the battery has tool free access. Even with the need to remove a couple of screws it's probably just as quick as a string change. Also you will find that active basses don't just die suddenly (pure sound one minute, silence the next), if the battery is on a natural, gentle discharge curve which happens through normal use (and not completely flattened by leaving plugged in or through an unfortunate wiring fault) then you will most likely hear the problem before it becomes catastrophic. Alternatively, one could add a low battery warning LED - there are kits available. In a properly functioning active bass (which is diligently unplugged when not in use), the batteries last for a lot longer than a week or two. In my experience with a faulty bass which caused the preamp to be on constantly it did 4-6 weeks at 24 hours usage. Let's say you play a gig a week at 2 hours playing, a 2 hour band rehearsal a week and let's say you're diligent and solo practice for an hour a night (7 hours). That's 11 hours a week the bass is on. In the faulty example above, being "used" for 168 hours a week meant it conked out in (let's be pessimistic) 4 weeks. That's 672 hours of total duty. If the actual duty is 11 hours a week then that gives you just over 61 weeks of use at that level. A bit over a year. That's just very rough work (need mA drain of the particular preamp and the mAh of the battery plus an accurate breakdown of the time your bass spends actually plugged in to be precise) but it gives you an idea. It is often the case as far as I can see that this "issue" is pumped up to unreasonable levels to create anti-active scare stories. I for one have never been let down by an active bass on a gig. That's because I'll only be unable to play/complete the gig through my own lack of preparedness or awareness, that's hardly the fault of the bass, is it?