Monckyman

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[quote name='iconic' post='1221368' date='May 5 2011, 06:20 PM']tough 1st one! great bassline[/quote] Andy Rourke, much underrated bassist. I think for me it was Honey hush by Johnny Burnette & the Rock and Roll Trio. On a banana necked Framus. Was in another century far far away,perhaps even in another universe. Or maybe just manchester.

Used to sing and play it, some of the little 8 note runs in and out of the Chorus need concentration, but as has been said, it will avail you nought if the piano isn`t nailed down. Once you crack it, you`ll love playing it coz it swings. MM

Thanks for the reply Ian, I think I`ll see how I get on with the new pickups, then maybe fit a blend. I like the idea of trying the series thing though but not on my main bass, might be worth a go on the Squier when thats done. Ta, Dave.

Thanks for the replies, Gents. I`m going to be fitting some Nordy SVs from Howard One more thing though, as a long time P bass user, I have a bad habit of rolling the volume pit down between songs or in pauses etc. Cant do this on the jazz! Has anyone found a Volume/Balance-mix/Tone configuration useful? MM

PM`d

Just been reading old threads on here about the Wizard 64 and 84 Jazz pickups and would really like to try some on my mim Jazz, but... I really also want some humbuckers because I can`t live with the buzz every time I roll off a pickup volume. So, what`s the solution, humbuckering clean goodness like UltraJazz or area Js or the great sounding but still buzzy Wizards? MM

[quote name='Gust0o' post='1219590' date='May 4 2011, 10:19 AM']I So ner But yes, Charvels; Jacksons; BC Richs (especially the cheap ones, which seems to be the bulk of the range); MIM Fenders.[/quote] Im not rising to the bait..

Blag another compressor and abuse it. it`s not clear still whether it`s actually the Tone press itself or some residual earth hum that`s being squashed and amplified. Another compressor will perhaps show whether that`s the case. If it actually is the Tone press, maybe you can try extra copper shielding on the bottom plate or have a good look at where it`s getting it`s earth from.

As i said earlier, a £5 a month is peanuts for access to all those tunes. if you set your rig up right you can access them all over your house. Nevertheless, I don`t see Spotify as an alternative to buying CDs, I see Spotify as a way of getting me into the stuff in the first place. if that turns into a CD I can`t do without, then I go spend the £10. I and my partners music spend is larger now than it ever has been and that`s because we can try,listen to and enjoy lots of different stuff, on a whim. If we like, then we buy. Maybe it`s my age but my opinion is that music isn`t free and nor should it ever be unless you`re happy with it being written and performed by computers. Not to sound like a twat but I thought musicians would understand the time and effort making half decent original music takes.

Have to say Charvels. Pointless ugly things. And Explorers. Was at a german fest on sat and one band was doing the Hives thing with colour co-ordinated black and white Gibsons, I looked around at all the blokes I was with and just said "explorer" and they all shook their heads muttering about thin tone and crap looks. Also Crocs. quite rightly as when the grip wears off they are a liability in a wet bathroom.(apparently)

I`m very happy with my ABM500 but if you can stretch to a Hartke I reckon you won`t regret it. Try holding out for that extra £100 and you have a whole new set of choices. MM

All elements are important but..In my opinion ,a fine amp like a Markbass through a behringer 115 will probably sound more like a Behringer 115 than a Markbass amp. And a Behringer amp powering a GK cab will probably sound more like a GK cab. Because however well the original signal is produced, if you play it through substandard speakers in a crap cab, it won`t get reproduced properly. Put it this way, an upgraded head unit and amp in your car, will still sound like sh*t through the OEM speakers. The OEM head unit though,can sound a lot better for just replacing the original speakers. At least that`s how it seems to me. MM

He probably did one after not getting paid for anything.

One of the Soundcraft spirit folio range or similar would suit. I`ve used these desks for in ear mixes, clicktrak feeds, rehearsal/recording monitor mixes etc. There are a lot of mini desks about, but most have poor aux facilities. Depending on what you needed, as well as the drummer you could do this: Spirit notepad /Tapco/mackie/peavey even the dreaded behringer. eg, 4 mic inputs two line.. Inputs.... Two pzm mics for general ambience/kit/room. 2x cable splitters to provide separate signals from the main vox and the kick mic gives you the essentials, then use the line ins for a split from your bass rig and perhaps a split from the guitar. That`s the inputs taken care of. Outputs Does the drummer want stereo? if so he simply mixes the total into his headphones, prob no amp needed (depending on volume, ohmage of headphones etc).pan the PZMs wide, kick and vox in the middle,guitar off to whatever side he is relative to drummer, bass off to the opposite side. Your mix will have to come from the one pre-fade MONO aux on the desk, (it has another post fade for FX).So no panning for you. Take the aux out to the input of your spare preamp, EQ it and headphones out for you. You can control the general level of your mix from the aux master out, and the Preamp in/out,(prob more handy) For simples, just tape the preamp out and bass gtr cables together so the h/phones cable socket ended up on your strap near the straplock. Another option is a cheap in ear wireless system by LD or similar. Prob approximate cost £50min £150 max. MM

I actually thought you were spot on. It`s easy to appear harsh in print, and especially to someone who may be a complete dick or faker, (you didn`t know it was "Linda" when you posted. Nor that it was an honest mistake.) Respect for getting off your arse and getting involved. MM

Hiya homer. Yes, the interface is basically a couple of inputs and a couple of outputs, depending on what box it is there may be a few extras like digital connections or phantom power for condenser mics. These interfaces basically replace the ones you have on your laptop,(or desktop), giving a much better audio path with higher bandwidth and quality overall. Most software packages like Cubase, wavelab etc, will "see" this box once properly installed, as a place it gets it`s signals from,so you can record directly into the software recorder of your choice. From what you posted I`m assuming you would import the tunes you wish to play along /rehearse to, onto one track of the software,and then have your bass routed to the next chan so you can balance them and use it as a workstation with headphones, or have the output of the interface connected to your HiFi amp.(e.g the Aux input). Once you think you`ve nailed it, hit record and capture your playing for playback later. Hope this helps, MM

Just received a pedal from Nick, who sent it straight off and took as much care with it (a £10 sale) as he would have had it been a £500 sale. Thanks Nick.

Just to add to this thread. I have an ABM 500 115, made in UK prior to 2002 (repair/build date written inside in marker). The original blue speaker had been replaced when I bought it, and an Eminence ME200 fitted. This sounded ok, quite bright and punchy, but to my ears lacking warmth, though it could be corrected a little with EQ. I recently aquired an Ampeg 250 15" in a nice deep EV bass bin so I swapped out the two. I rather like the Ampeg in the Ashdown combo, it still gives a clear top end with a fair bit of snap, but has an added warmth in the lower frequencies that the Eminence did not. Happily enough, the Eminence doesn`t sound half bad in the EV cab either, perhaps because of the larger cubic capacity of the box itself rather than the quite narrow ashdown box. Wanting to try a couple of extension cabs I bought an Ashdown Mag 115 and an Ashdown Mag 410, both the "Deep" models. I liked the 2 15"s together, very old school dubby sound, especially with my trubassed p bass, but probably a little one dimensional for work in a covers band where a few different types of sound and tone are needed. So I tried the 4x10 and that made everything right. The combo`s 15 provided warmth and depth while the 410 gave all the snap and punch I needed and more. I think the amp itself runs very nicely at 4ohms with the two cabs, and at 500 watts seems to have a lot of headroom to play with. I sold the 115 within 3 days of buying it for more cash which sort of paid for the 410. The 115`s seem to be in demand at the moment. I think the combo on it`s own would hold up well in most pubs/bars, and adding the 410 will be great for larger venues that still don`t have that large a P.A. All i need now is to replace the carpet with tolex. MM

Nice arrangement! The singer in the covers/dance band I`m in wants to start playing the Chaka tune and you may have shown me the way! Nice one. MM

Hmm , I wonder if you could fake that by splitting the signal into two chans and EQing the feck out of one to get that click and the other for the thump? still have to start with the flatwounds/pick/sponge mute thang though.

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