gafbass02

Listen, play, fine tune/tweak Practice practice, muscle memory, muscle memory. Fine tune/tweak more Practice And repeat

I had it for a while and didn't really like it. Great for weight but I found the tone lacking.

Nice bass! Nice pics! Nice plate! Nice.

How dare you post this!!! The is an affront to holy greatness. I'm snitching. I am. And I shall be rewarded, he will notice me. Oh joy oh rapture, his wondrous eyes will fall upon my worthless form. Maybe he will bestow gifts upon me, I shall prostrate myself before him, and leap to his defence across the web that he may know my username. Oh hang on....I had this with a ray too. And all around the pick guard too where the paint had reacted with it. As you were like.

Two weeks I think. A long time ago now.

Used the right angled silent ones for a few years, not had a problem..yet.

I've sworn by my Panasonic rphtx7's for years for bass practice, (and guitar) and listening, and monitoring. I bought them while working for richer sounds, so could buy from a big range of cans at cost price. I was into the sennhesers and the sonys. Then I tried these for the looks. They flattened most others, I was pretty surprised and still love them today. Great with my zoom b9 and g7.

[quote name='steve-soar' timestamp='1365169057' post='2036257'] I like the sound of that. [/quote] http://www.jamhub.com/ I really can't recommend it enough. You need extra bits to really make it work. Modellers for guitar and bass, in my case the floor fx do the job perfectly, and an electronic kit. We use one of the cheapest around, and it still sounds fine. No more traipsing gear around, setting up for ages, paying for rooms, no more time pressures and the fact that its all in your ears lets you really hear what's happening, and you still get the adrenalin rush. Just the best rehearsal solution ive found in twenty years. We bought our bedroom model from gig funds, Just wish we could've afforded one with a recorder built in, but to be fair you can link it to a recording device so not a big issue.

Hahah. I must admit, when I was younger I'd agree with that, now all my shapes are in the bag

I'm very lucky at the moment. My main band rehearses in headphones using a jamhub. It's an amazing sound, everyone has a personalised mix and its as loud as you want it, with excellent clarity. Also free. My funk band rehearses at very low volume despite the drumkit bring one of the loudest I've ever, ever come across. The kick drum looks like a cannon, its huge. The guy is just very good at reigning it in. I don't miss loud rehearsals.

I've owned and gigged both the traveller 151 and the p5110 with its extension cab. I'd say finding a markbass 12" might be the best all round solution. The promethean wasn't light and although it sounded good and made a tidy and powerful little stack (you'd have no problem gigging it, I used it at festivals on big stages and was still too loud) I found it unreliable, in fact, every single piece I owned failed, including the cabs! The traveller is a great cab, the obvious choice to replace it would be barefaced midget, but they are pretty pricey. So that takes us back to the idea of a markbass 12" of some description.

The VPF at 3 o clock is sucking a huge amount of mid. Try Rolling it back to 8 or 9, turn the vle off, (fully left) and put the bass at flat and the low mid around 2 o clock with the hi mid flat to 1 o'clock ish. Then up the gain to 1 o clock if you can. Are you using a compressor?

I've always said its easier to learn, but harder to play well.

It is indeed so different for everyone. I think my first gig was around two weeks after picking up my first bass, 22 years later I'm still gigging and learning all the time.

When I've worked with big name bands using in ears they've just had the backline mic'd offstage.

I'm going to have to add another carlsbro stingray head here too. A green liveried one if I recall, just useless junk.

I've found an allparts jazz neck to be near identical to my factory fitted fender cij jazz neck. Very nice quality parts.

. Thanks. Hope it turns out to be of some use to someone.

Charic nails it pretty well there. I've owned a range of markbass, bergantino and barefaced cabs and gigged lots with TC cabs. I'm the odd one out on that I'd rate the barefaced the least out of all them, apart from their portability, and i found that despite the protestations to the contrary, the compact sounded exactly like an old school 1x15 and midget T exactly like a small 1x12, but the midget took fx well. The Bergantinos are in a different league to the others, Just phenomenal in every way, best bass gear I've bought. I like the sound of markbass cabs but not the projection which isnt great at filling a room with solid low end, or excessive cone excursion. Which to be fair doesn't seem to hurt them. I owned a traveller 102p among others and for most jobs it was a great solution. Out of all those mentioned I'd suggest the TC rs212 as having seemed the best value for money as a gigging all rounder, you can then add another or an rs210 later if needed. Great form factor, power and punch, tonal versatility etc. just expect it to get shabby quickly unless cased. It's worth mentioning I used a range of amps with the cabs mentioned, little mark 2, orange terror, shuttle 3, shuttle 6, MoMark, Promethean, crate etc spring to mind. I also did indoor/outdoor/big/small/mic'd/backline only gigs with them over a period of time, so I'm speaking from first hand gigging experience of it helps.

I went from a trace AH400smx with two 4x10's and a bright box to a markbass LM2 with two 2x10's. never looked back. I swapped to a Genz shuttle 9.0 and barefaced compact/midget T stack which I really didnt like much at all. The head was better when I swapped the BF cabs to Bergantinos, but when I swapped the shuttle for a markbass MoMark I was, and still am really, really happy. It doesn't sound like a lightweight rig at all, the nearest I've found to that huge, solidity of the old trace rig. But still dead light Just not as light as the shuttle/BF rig, but not as light on tone either. One day I'll get the MoMark graphic module

I've got them on my cij fender 75 reissue. I was sceptical initially, for the same reasons as yourself, there is little information about the 64's online, and I was concerned that at the very reasonable price they may be more of a sideways step; simply because my bass already sounded great, I couldn't have been happier with the sound. Infact it was an unfortunate failure of one of the standard US Fender units I had fitted that started me reluctantly searching for replacements. I'd had incredible results previously with a bespoke set of wizard jazz replacements; the fantastically meaty, humbucking Wizard 'gaffers' (sadly no longer available') So when a set of 64's came up at a price I couldn't resist, well, I couldn't resist! Luckily for me it was a good call. Compared to the originals the tone has more overall 'character', less of a dry, generic jazz bass voice and is more steeped in tonal and harmonic complexity; its a deeper, more expressive sound with a more tangible, authoritative '3d' edge to it. The bottom is warmer with a pleasing mid punch, which retains a musical quality rather than a peaky bark. The top end is solid and present, yet maintains a sense of body with no unpleasant 'spikyness' or 'glassiness'. The bridge pickup in particular has been a great improvement, it seems to carry a little more volume and weight now, giving more depth and authority to the classic jazz bass bridge biased 'burble'. The wizard 64's have a healthy output without being overly 'hot'. I find they respond well to height changes and varying dynamics, changes in playing style and touch are handled deftly with no undue noise or unwanted creaks, pops or handling noise. There is no hint of microphony and the pickups are very quiet in operation, although my bass does have extra shielding, which is always worth considering on a passive jazz. As a purchase the wizards inspire confidence, arriving nicely presented with cloth wrapped wiring and the model number inked by hand in marker pen, this gives a feeling that you've parted with your hard earned to a company that really does put care and attention into each and every pickup that leaves the building. The casings look the part too, with their smooth edges giving a subtle clue to only the most trained eye that something non-standard is 'under the hood' All in all the Wizards are a great improvement which has sweetened the tone of my jazz and added girth and authority without sounding overblown or scooped. But remember, everyone's ears and rig are different and pickup changes often tend to be perceptible only to the player, but to play your best you need to feel confident in your tone, give them a whirl and see what you think, if they aren't for you you'll be able to sell them on here in no time Hope that helps.

They look amazing! My AE210's are possibly the best music thing I've ever bought, they utterly flatten my previous rig for tone; plus that new finish looks a lot more durable, and so much cooler there than on a 30w Marshall combo.

Never had dealings with Ric. I'm another potential customer put OFF by the loony, petty behaviour. Same as I don't see me owning an ebmm bass again for similar reasons, especially after a personal run in with that particular slice of fruitcake. The thing that freaks me out the most is the hysterical, fawning fan boys, who seem oblivious to the fact that its so transparent to the rest of the world that they are hoping to be 'rewarded' or at least 'recognised' in some way for their scary and dogged determination to defend 'their brand' and its figurehead. I don't think some of them can even admit it to themselves! It's weird and creepy, the simmering insta-bile that starts to froth the minute they sense even a hint of rationed or reasonable negativity toward their prefferred brand is numbing in its predictability and sniveling servility, and I really wish they'd get a grip, it's a very odd personality trait that I just don't 'get'. Im not just referring to the Ric folk I hasten to add, but the act of hysterical fanboy-ism itself, ebmm, a certain brand of cab and apple spring to mind pretty quickly. I truly don't think they even realise they are doing it most the time. Ah well, it's a funny old world and it takes all sorts I guess.

I Spent over twenty years doing originals, always hoping to 'make it'. Sort of did a bit, got to do some amazing things, play some amazing places, lucky old me. But it was always a battle, always that product to create, package, push and market. Always that hoping people come, and even when doing HUGE venues, with albums on sale globally, very little money. (Not that I cared!) Amazing times, I've stories and stories and wouldn't change a moment. But.... Two years ago a funny joke at an open mic night somehow turned into a cover band with me 'singing' and playing guitar doing original versions of pop songs (Gina G, Madonna etc) and I've hardly had a weekend off since, I still get to create and rearrange the songs, people know them and go crazy, we get payed, We get rebooked, I get to feel like a rock star for much less work/hassle, it's MUCH more fun and less pressure, plus no ones getting all primadona over their music. I wouldn't go back to originals now, I've walked that journey and done better than most, not as well as many. Had my fun, dreamed the dreams, lived the dreams, felt the pain. I'm too old now to really spare the time to push a product or feel likely to have another shot. So I'm grateful to still be playing to appreciative crowds, only now for money and I don't have to beg mates to come anymore like the early days, we have fans and just entertain whoever happens to be there. Good times, while it lasts.

Lately I've been using garageband on my ipad to create some basic demo versions of the cover versions that my band do. More to see if I could than for any other reasons. It's been tricky working, quite literally around, (and over and under!) the kids but oddly rewarding. Despite the fact that using an iPad seems quite hi-tech, the limitations have made it more like old school four track recording from back in the day. I have NO experience using any form of computer recording, having always let others take care of such things for me. There is no eq or mastering tools like compression etc, so what goes down the mic has to be right. You have eight tracks and then it's bounce time. There's lots of little foibles, I've lost hours of work before when a track has randomly moved/deleted/split etc. The biggest problem has been noise, I'm mr Skint so I'm using a peavey amp-kit link into the headphone socket and an irig mic pre, both of which are very noisy. So I've spent a lot of time chopping as the noise filter is a bit rubbish. An apogee jam or the new behringer I/o device are on my one day list. But it's been great fun, very rewarding, and I plan to do as many of our tracks as I can. The inability to change tempo mid song has ruled out a few though. :-/ (I'm using a combination of smart drums and playing in all the drums on the ipad manually as I can't drum at all. ) I've found vocals the hardest, as I'm more a performer than a studio singer, but they are getting better, I've also found that my timing on guitar sucks :-/ but I've only been playing it two years or so, so not too worried. Mine is a funny old band, rocked up pop covers, no fancy musicianship at all, but people like it and we're busy and paid so I'm happy with it. It started as a joke so unexpected win! I've never played any of the bass to the tracks before, preferring to leave the bass to the bass player in the band ( oddly I'm the singer/guitarist, I started just for this band) but for the sake of ease and convenience I quickly banged the bass down on the recordings. Usually at like 1am once everyone is asleep via my zoom b9. Anyway, I just wondered if anyone else had been using it this way and how their results were? Any tips or tricks, etc (NOT comments like 'buy logic, or rent a studio" !) If you haven't its worth a shot, really takes me back to the days of the tascam porta 01 and my trusty old realistic mic. Good fun.