Linus27

[quote name='JakeBrownBass' timestamp='1338723262' post='1678407'] Ok guys, I've been touring with my Reidmar & classic cabs for the past 3 weeks so i thought i'd come back and leave some feedback about how it's getting on in larger venues. Every show has full FOH so the Reidmar is essentially mine & the bands bass monitor as wedges never give enough bass back to you. The good points: This thing still blows me away every single show, i've never had to have the volume past 9 o'clock & gain past 12. And this is for the entire band to hear the bass properly. Most venues it doesn't even get to 9 o'clock before its too loud. The tone is to die for, from hi-fi modern tones, to old school thumps. This thing can do it. The bad points: Just two little niggles at the moment for me but it's not the Reidmar's fault, the damn thing keeps vibrating almost off the cabs when the bass is being pushed. Anyone got any tips for this? The second is the 1x10 cabinet. Again when the bass is being pushed, the fabric grill begins to flap and hit the wooden frame in which it's attached to. Not entirely sure what to do about this yet, i've taken the plastic classic line logo off from the bottom right hand corner as it would click against the frame. [/quote] Thanks Jake. I have found the same. LArge venue with full PA and on stage monitors and I found that I only ever needed the bass set at 9pm. Less even in some cases. The thing is so damn loud.

[quote name='grtz' timestamp='1338640289' post='1677503'] I currently own a Warwick ProFet 5.1. I recently bought two EBS 112's and am now wondering about the Reidmar...at 250 watts, is this going to be a step up for me? The Warwick is 500 watts, but doesn't feel particularly loud to me. I do like the sound and don't really NEED to replace it, but well...I guess you get the idea. So, opinions are welcome. The price of the Reidmar is pretty tempting... Cheers, Grtz [/quote] I really think you are going to have to go and try one out but to be honest, I really don't think you will be dissapointed especially as you have two 112's already. The Reidmar is very very loud as in old skool loud.

[quote name='lettsguitars' timestamp='1337255447' post='1657883'] For any bass player (bass guitar i may add) to have no interest in guitars which are made by the same company that makes their favourite basses is stupid. [/quote] So could you explain why in your opinion this is stupid? Oh and to assume they are my favourite would be stupid

I would also like to add that I do not like the joint Framus/Warwick facebook page. Enough for me to not visit the facebook page anymore. I am a bass player and have no interest in Framus or guitars in general.

Hi Garey and a big welcome to Basschat. I am a proud owner of two Streamers, a 2011 LX4 and a 2006 Jazzman Fretless. Both are amazing and will not be leaving my side. Currently recording with the LX4 and it sounds ace. Not sure if you are in the UK or Germany but I have spoken to Dirk a few times who has promised me a tour of the factory next time I am in Germany so if you are over there then I hope to meet you also.

[quote name='Clarky' timestamp='1336684185' post='1649607'] Sorry to fans of the guy but the track in the OP is quite the dullest piece of music I've heard since the clutterbuckery of the London Bass Show. Technically amazing but soul-less IMHO [/quote] I'm with Clarky on this one. Its not what I look for in bass playing or music. I will also add that technically he is excellent but so is knitting and I find that boring also.

[quote name='Gunsfreddy2003' timestamp='1336682375' post='1649575'] That fact is compounded by having a very young son and another on the way in two weeks, you can only give them the life that you want for them if you have some money coming in regularly. [/quote] That is such a great point and should not be forgotten.

Hey Clarky, its really great to see you back out gigging and really enjoying it. You seem really happy with All The Queen's Ravens. I do plan to come and check you guys out sometime soon.

Great stuff Jake. Good luck with the recording and enjoy your time in such a wonderful studio. Keep us updated if you can with how things are going. I'm sure others would be interested to read as well.

[quote name='shizznit' timestamp='1336552147' post='1647236'] When I was working for the label I was the only guy in the band that was single. The other members had their own families. My absence from home was never a big issue for me, but it was quite tough for the other guys. Nobody likes to be away from their families for a long period of time and it is important to get as much support from your partner/spouse as possible. Whenever we were arguing with each other the stem of the emotions usually came down to home sickness or an unresolved problems back home that couldn't be solved over a phone call. For example....my singer missed his youngest boy's 1st birthday and missed his wedding anniversary 3yrs in a row, my guitarist's wife was involved in a car accident whilst we were in Portugal one time. Luckily, we never spent anything more than a couple of weeks away on tour and our down time was quite often very extensive (mostly down to our moronic management and promoters). Despite having a pretty light tour expectation the time away from home was particularly tough for the other guys. Management teams at a label will work you in a very different way to a 9-5 office job. They will book you for gigs and media commitments despite of your personal commitments. You can't call your manager to ask to cancel a gig in the same way you can ask your manager in the office for a day of annual leave on short notice. You have to consider that if you are a 5-piece band and all of you wanted to block out the schedule for a day off on your birthday, your partners birthday, your kids birthday, anniversaries, a holiday abroad with your family, every public holiday, taking the cat to the vet...etc...you won't get much work done. The label decides when you all have down time and thats when you get to spend time with your family and friends. Its a hard business to work in and it takes a lot of commitment not just from yourself, but everyone around you to support your career. But, there is one very important thing...you have to make money! If you want to write and perform full-time you cannot rely on selling a few t-shirts at a gig to pay the bills. It’s the reality of dividing delusion of grandeur from business. When folks hear that I was a full-time signed musician they go "wow!'" and I reply "big deal"...I really don't have anything to show for it. We had a lot of fun...we really did, but our enjoyment came at a price and we entered into the world of music a but short sighted. After only 18 months of being signed we jacked it in because despite of the constant touring for several years leading up to our deal we were not making enough money to support our families and damn near bankrupted all of us. All of this could have been different if we were an overnight hit, but we weren't. Very few bands get that instant success and sometimes takes years of hard work and sacrifice to build any kind of success whatsoever. I'm not saying that this will apply to every band...if you are instantly successful then all the best for the future...enjoy it, but remember that a very small percentage of bands get signed and even fewer gain enough success to make any significant money for themselves. [/quote] Your life story/experience is pretty much exactly the same as mine. The only difference is we had to sue the record company for breach and when we won that case, we then jacked it in as we needed money and were burnt out.

Absolutely, change basses. It might not make a big difference but there is no harm and as others have said, it depends on what works best for the song. I usually have in my head what bass I would use for each song pre-recording anyway but listen to the producer for sure and also the engineer as they may be hearing something different or trying to create a certain result.

Bugger, I have only just seen this. Would had popped down as I am only in Camberley. Hope you do another one soon.

Really bad news this has been taken down. i used to watch this from time to time for a bass fix. This was probably my favourite bass clip ever. Wish it was available somewhere again.

Yep, big loss and such a young age. RIP

[quote name='TheGreek' timestamp='1335961135' post='1638607'] I'm now waiting for Doctor of the Bass to review all 80 of his... [/quote] My god, 80 basses?? He probably started writing his reviews last night. Should be finished sometime next month

[quote name='LukeFRC' timestamp='1335940853' post='1638234'] slightly odd question here... you know how some folk on here have basses that you just think 'wow, really beautiful and just look great and they obviously love them. Think Wateroftyne with a sunburst '71, or Warwickhunt's Infinity, Gafbass's blue jazz with the stripes or Wazoo's dingwal.... well in my head when I see your posts I think of the ESP. Now I can get why you would have and use a precision, great basses- but why if you have the ESP did you go buy another jazz bass? [/quote] Good point and my fault totally as I forgot to mention that the ESP is fretless where the Fender Jazz is fretted. Thats cool that you link me with the ESP. There was a red one on here that I should had bought. If it does come up for sale again, I will buy it and sell the Fender.

I have a few basses and they are all so different. I love them all but they all have something that bugs me about them. This is what I love and hate about them all. [b]Ernie Ball Musicman Stingray 2EQ 2008 in Teal Green and Maple Neck - [/b]Ok, this was always my dream bass and they are superb. The neck is probably the nicest neck I have played and the one I feel the most comfortable with. It also has great tone, especially now I have worked out the best way to use the pre-amp. Recorded it also sound amazing with the true Stingray tone cutting through beautifully. I have some recordings which I did with it and the bass tone has so much personality. However, the thing that bugs me is live I can never get a tone I am happy with. Its either too thin, clunky or just lost where as a Precision or Jazz fills the bottom end perfectly. I have always lacked confidence in taking this bass live. The other small thing that bugs me is I like pickups in the middle to rest my thumb on but the Stingray is further back so a little un-natural for me to play. [b]Fender Precision MIA 2008 in Olympic White and Rosewood Board [/b]- This is my main workhorse to date and feels great. The neck is not chunky either although not as skinny as a Jazz but not chunky like a typical Precision. It also sounds great and has never let me down. I would not say there is anything I hate about it but compared to a lot of other basses, it can be a bit flat or have no personality. The scratch plate needed changing from tort to black for that punk look. The Precision is a Golf. Goes like a Golf, sounds like a Golf and is reliable like a Golf but it aint no Ferrari. [b]Fender Jazz MIA 2011 in Olympic White with Rosewood Board[/b] - Great bass with a lovely neck and is really nicely balanced. When I pull it in close to my body, it just sits so well and feels perfect. But, this bass is nothing special. When I play it, it does nothing for me. It sounds ok but after hearing lots of great Jazz basses over the years it sounds lifeless and dull. What really brought it home was when I recorded an album, I knew which tracks would suit a Precision for a thumpy motown tone and what would suit a more detailed honky, funky Jazz tone. However, listening back, there really is not a lot in it although the Precision sounds like a Precision and the Jazz just sounds like a non descript bass tone. I may upgrade the pickups to some vintage Fender ones to see if that puts a bit of character in it. Oh and the tort plate. I hate tort plates and need to change it to black. [b]Warwick Streamer LX4 2012 in Natural Oil [/b]- Oh boy, what a bass. Totally stunning looking, wonderful neck, very jazz like and that Warwick earthy wood tone is just amazing. This bass is my Mona Lisa, my Ferrari Enzo, my crown jewels. I have been recording some funky jazz over the last few weeks and the tone is unreal. Where I say the Precision tone is reliable but lacks personality, the Streamer is oozing rich tones. Even my wife commented on how great it sounds. If the Precision sounds like a Golf, then the Warwick sounds like a growling Aston Martin. However, it is not without fault. The first thing that really bugs me is the dots on the top of the neck. Warwick have put these new glow in the dark dots which are quite cool but pale greenish and in normal light can be hard to see so its easy to get a little lost. Oh and if you roll the balance back to the single jazz bridge pickup, the output really drops. [b]Warwick Streamer Jazzman Fretless 2006 in Natural Oil[/b] - What a beautiful looking bass with lots of tones. It has the chunkier neck Warwick's were producing at the time but to be honest, its not that chunky. In fact it feels very nice, deep but narrow I guess. It is also so easy to play fretless with the spacing being perfect and suits me down to a tee. Also, a nice addition having a dot on the first fret helps to keep that fretting accurate. However, as a fretless it is so flat. Hardly any mwah, especially higher up the fretboard and lacks real sustain. It even sounds fretted at times. I am really torn with this bass as it looks stunning but as a fretless it does not blow me away. Not sure what to do with it to be honest. [b]ESP 400 Series Jazz Fretless 1998 in Black[/b] [b]with Rosewood Board[/b] - My old workhorse that has done hundreds of gigs and recording sessions and has never let me down. Everything about this bass is perfect apart from it came with a white scratchplate so I changed it to black. I also changed the pickups to Bartolinis and the tone is unreal with lots of growl and honk. It also has a bit of a fretless tone to it and so I got John Shuker to make an exact copy of the neck but fretless and now the bass sounds even better. The only thing that bugs me about it is the output from the pickups is so very low, probably about 30% lower than any other passive bass. So, what about your basses, what do you love and hate about them?

Wow, tonight I decided to do some searching for what EUB Sting used in The Police and my search led me to here. I would also love to hear some sound samples if you can. thanks.

That would be great Nick, might be enough so I can decide if I want one or not. Still not fully happy with a good fretless yet

Hey Nick, wonderful basses. I had one of those Washburn acoustic basses and they are superb but again, I had no use for mine and sold it. Loving the fretless precision also. Would be interested to hear your thoughts on what the tone is like on a fretless precision.

Hey Leon, many thanks and really pleased you like the album. Feel free to download it if you like