brensabre79

Plus, if you're going Class D I think they are all manufactured by the same people anyway!

[attachment=114005:Snowy.JPG] My FrankenJazz Snowy

I have the iNuke, for the same purpose, it works great actually! really lightweight and a class D power amp (licenced from B&O I think) so pretty reliable. not used it in bridge mode, not needed to, plenty of power even with Mike Tyson on drums

Niiiice

Tried out my balanced Newtones at a gig. Feel wise the balance is perfect, but the volume of the strings isn't quite balanced, which defeats the object of this entirely as I ended up playing the D and G harder. As the higher strings seem quieter - I'm adjusting pickups before tonights gig to compensate. Also, this may be due to using the studio grade strings which certainly do have a strong fundamental (where's all the harmonics?) - I have the Live set in the same ready to go on but will try one more time with these first... To be fair to Newtone though, these strings are meant for recording. I'll lay down some tracks tomorrow and see how they fare.

I honestly wouldn't go the vinyl route, they will look exactly like you've put a sticker ove the top. I'm not exactly good when it comes to the finer detail work myself, but never had trouble with a waterslide. I just soak it in a bowl of WARM water until it peels itself off, wet the surface the decal is going on and it should just suck itself on, slide it gently into position and smooth it over with WET finger to get the water from underneath and leave it to dry naturally. This probably isn't the answer you wanted I know, but I'd steer clear of stickers. You can get some waterslide inkject paper online I think, might be an idea to have a few practice goes with your own logo or something before you spend ££s on a proper one.

DHA VT-1 Bass Drive, I have one for exactly the same reason.

Yep, speak to Andy at Wizard, better than slipping with a dremel and awesome sound too

What he said, its paint. Alex says its a simple matter of touching up the paint, with paint if it gets a knock. Rather than tolex, which tears and cannot be touched up. or carpet, which also burns I've had my S12 over 6 months and whilst the handles have a few scrapes on them, the black finish is holding up well!

[quote name='the boy' timestamp='1340893896' post='1711165'] Hi Bren, are you serious? Im sure you have repaired worse breaks than that but I bet you had all the bits. The only way I can see that being of any substantial value is if it was smashed up on stage by someone famous at a well known event. I'd be surprised if it tops £100. However you never can tell. This has got interesting now. Goggles on folks. [/quote] All that's missing is some wood, maple I think... I wouldn't value it on its age though, like I said, just use it for bits I probably wouldn't repair this. But yeah, I worked with a guitard who lost the plot once and took the head off his 60s strat in a drunken rage. glued back together nicely, a few bits of filler maple, lots of aged nitro and a veneer for the front made it invisible. Not original any more, not worth much but he did say it played better and stayed in tune after that! £28 is OK, when you consider the price of a new neck, it's a bit of work, but its still a Fender - albeit heavily repaired... I agree with ou7shined though, I think £25 would be end of the bidding range for me not the start.

Parts or a refurb project, I've repaired worse breaks on necks! I'd buy it for the trussrod nut and the micro tilt adjuster because I can't find a bullet trussrod nut anywhere that fits my '74 Jazz neck. The one thats in is almost completely inside the hole! but it will probably go for silly money in the end.

[quote name='steve-bbb' timestamp='1340799245' post='1709716'] ask Mr Ratner [/quote]

As someone who works in Marketing, designing and writing ads specifically (although not for any bass products!), I have to say that often a list of features is just that. Its not an attempt to make something appear better than it is. Years ago I took my friend to buy a car from a chap i knew, I asked him what was the most important feature that he wanted from his new car as we were looking. He said "an adjustment control for the speed of the intermittent wipers". I didn't even know such a thing existed at the time! My car didn't have one, it wasn't on my list of requirements when I bought it. Now i look for one in every car i buy because, having driven his, I realise that it makes the experience of driving in light rain very slightly less tedious. So next time you look at the bullet point list of features (e.g. Phenolic fingerboards etc.) it might not be something that appeals to you personally, but it is there because a huge amount of usually expensive research has shown that some people look for it, some look for something without it. Either way, if you know its there you won't get any post purchase dissonance. The more knowledge someone has about a product, the more informed an opinion can be made as to whether to go and check it out. That is all. We're not allowed to say things that are not true, despite people thinking we're a bunch of liars. Yes the truth has to be well told, but it is always the truth. Even if a manufacturer says "We believe that dunking our basses in sulphuric acid for 3 months really improves the tone" it's just their opinion, so many people read this sort of thing and say, they are full of crap this is not scientifically proven, therefore they are trying to rip me off! Not all marketing guff is guff, thats all I'm saying. Putting a picture of a blonde in a bikini next to your product is just lazy, and it basically says "there's nothing good to say about this product so here's a half naked lady".

Thats a lot of equipment and technique to sound like a Yamaha DX7 The cough at 6.50 was a highlight for me though!

SM58 Yes. I don't care about the naysayers, they get the job done, they are bulletproof - literally, they resist feedback well and you can get a perfectly clear sound out of them with a little EQ. They are not for the audiophiles, definitely not for the studio, but for BVs once you've dropped a beyer or sennheiser you'll see why i say get a '58. XLR - XLR = Balanced line at MIC level, no noise just lots of nice clean signal. XLR - Jack = unbalanced line at LINE level - you'll need to crank up the gain to get the same level as an XLR-XLR, when you crank up the gain of a mic you open up the pickup response pattern, making it more omnidirectional and prone to feedback (simple version). this is one reason those sh*tty old PA systems that have only jack inputs sound noisy, distorted and feedback before they get to useable volume. So SM58 and XLR - XLR you'll never need to buy another backing vocal mic.

Nice setup by the way. Almost the same as mine except I have Wiz 74's not 84s in my '75 Jazz

I had the same problem with mine, shielded the cavities, helped a bit. Reversed the polarity of the pickups, helped a lot!

[quote name='paul_5' timestamp='1340349403' post='1703034'] Westfield, Ashton? £500? One of the zeros might be in the wrong place... [/quote] Yes one of them belongs on another auction

You could pick up a decent one for less too. well I did

I don't get the plumber comparison at all. How many musicians, pro or otherwise sit around waiting for the phone to ring for an emergency pub gig? I've worked as a freelance designer for years. Some days you work, some you dont. The days I work I get paid considerably more than my PAYE counterparts, it's the going rate because its the only way freelancers CAN make a living. You're paying for the availability as much as the talent! Pub gigs have a going rate too. I think they are too low personally, our drummer is a former landlord and he knows what these places can afford to pay for a band that fills an otherwise empty pub. Moreso, as was said - these are people that wouldn't come otherwise, and may come back again (if its a nice pub). So musicians/bands are being used as a marketing tool by the pub just as much as the other way around. Why are bands so popular in pubs? Because they are cost effective for the landlord. If they weren't then they wouldn't do it. most places we play we go back time and time again, we start at £50 a man as an intro rate. Once we've packed the place we ask for more, it a negotiation and at some point the line of profit will be reached where its not worth the LL doing it. I think the point of the OP is that this line of profit is often underplayed, the value of the music and musicians performing it doesn't really enter into it. Which is a contrast to the small gigs I've played in other countries - places will charge a small fee to cover the expense of treating the band properly, like professionals. In return the standard expected by both venue and audience is high. The audience will happily pay to see a good show. Over here its expected that you'll get a band for free at a music pub.

Yeah I know a guy who wired the 4x10 bass cabs up in series to 32 ohms at his rehearsal rooms to keep the volume down and prevent drivers getting blown. They would fart all day long, but he said it was better than replacing drivers on a weekly basis.

[quote name='TimR' timestamp='1340198986' post='1700875'] Generally we arrive separately at 8:00. Set up and start playing at 9:00 sound check on the fly finish at 11:00 and out the door 11:30. [/quote] Can I join your band?

+ another for Mighty Mite I've had about 5 of them, they have all been fab, it's just a shame they don't do blocks and binding.

Yes we do a few that use the bucket method, and this is where the OP comes in to play tenfold. Last one we did, the place was packed, people were dancing, we did three encores before they would let us leave the stage area (we were blocked in by the hoards). So out of about 150 people in total we were expecting about £1 on average - that's not unreasonable for 2.5 hours live entertainment is it? Well apparently it is. We got £35 between 5 of us. And I saw one guy put a tenner in - he came up to me later and introduced himself, we talked about gear and stuff, turns out he plays in a covers band too. Enough said I think... We won't be playing there again.

+1 Mix over volume. If you have FOH use it. If not, you're going to have to watch you levels. the bass and the kick drum will vanish first. If everyone is too loud you'll get a tinny sound and people won't want to listen.