Linus27

If I was in the OP shoes I would be looking at doing media and business degree's. All those skills are transferable and probably more usefull in the real world when getting a job. I would then study music in my own time and play in lots of bands to gain experience and then let life sort out the rest.

[quote name='JTUK' timestamp='1323857902' post='1467757'] This..................... as it is, neither do anything for me. [/quote] Yes agree to this and the only reason why I would not buy one.

Yep, this play is uber cool. Long may it continue.

[quote name='Clive Tee' timestamp='1323861755' post='1467822'] Thanks so far. Do you think the EBS 60 is better than the Roland Cube 60? [/quote] I have not tried the Roland Cube although they do get good to mixed reviews. All I can say is the EBS Classic 60 is awsome.

[quote name='ras52' timestamp='1323861770' post='1467824'] From last night, rehearsing a work-in-progress original. Much confusion over the sequence of sections (instrumental chorus, "the bit where it goes to D", etc etc). After the third attempt where all five us seem to think something different is supposed to happen, I suggest that we get a piece of paper and write it down. The guitarist says, "Don't write it down... I won't read it." [/quote] GGGRRRRR I would of had to say something scarcastic after that like "I will only use small words so you can understand"

I have the EBS Classic 60 combo and it is amazing. You can get any tone you want from it, deep, thumpy bass or clear and crisp. Plus its very very loud for a 60 watt combo. I use it for rehearsals and my MarkBass combo for gigs. However, I am so impressed with the EBS stuff and to the guys at EBS who I have been chatting with that I am ditching the MarkBass gear in the new year and getting an EBS Reidmar 250 and 2 x Classic 112 cabs. The Classic 60 is certainly the best combo around.

[quote name='Ou7shined' timestamp='1323779023' post='1466841'] Thought so. It may have just been at the mercy of the eliments then. A luthier might have been able to fix it by (re)sealing it in properly. But it's neither hear nor there now you got it sorted. [/quote] Yeah true but as it was a brand new bass thankfully Musicman/S&T jumped on it right away and sorted it.

[quote name='Ou7shined' timestamp='1323776825' post='1466805'] Out of interest was it an unfinished (ie. no varnish on the rear) neck? [/quote] Yes, unfinished.

I bought a brand new 3EQ Stingray back in 1998 and the neck would never settle. It would constantly be going out of tune and was just unplayable. I contacted Musicman who asked me to take it to Strings and Things. They looked at it and said the maple was too soft and just replaced the neck there and then. Never had a problem since.

There is a very worrying silence from Gareth.

[quote name='LawrenceH' timestamp='1323772064' post='1466696'] Tbh there is no harm in being a (polite, to start with) pain in the a&*e and it's often the best way, especially at a busy time like the lead-up to Christmas. I'd be nagging them daily at this point. [/quote] +1

[quote name='Grand Wazoo' timestamp='1323729920' post='1466433'] better still [size=8][b]THANKS F//CK FOR THAT![/b][/size] [/quote] HAHAHAHAHA

Oh Gareth, I hate to burst your bubble but I had to sent a Stingray 4 HH / White / Rosewood / Black Pearl Plate / Matching Headstock built in October 2011 back to S&T as it was made from old egg boxes and a bit of sticky back plastic. It looked ok apart from the made in a shed by a guy with a flatcap, a whippet and an fetish for cheese logo on the back but I could just tell it was not right Seriously dude, this is great news, really hope its a winner.

To be honest, I have no idea what tennis elbow is. What are the symptoms? The reason i ask is very very occasionally i get an sharp pain in my elbow. Does not bother me but just wondered if its tennis elbow.

Thanks Lawrence, again, this points to the more warmer cab suiting my requirements more. Just need to find out what they use in the Club range of cabs.

[quote name='ltswifty' timestamp='1323699548' post='1465949'] The whole wattage rating figures thing just doesn't add up between brands to my eyes. I also have a Genz Shuttle 3.0. it's meant to be 300 Watts into 4 Ohms, but it is nowhere near as loud as the Reidmar. I took the lid of the Genz Benz and saw it used a Bang Olufsen IcePower power amp, that has a maximum rating of 200 Watts into 4 Ohms from Bang & Olufsen's spec sheet. Great sounding amp, but power seems somewhat over stated ;-) [/quote] Funny you should say that, I had a Shuttle 6 (500 watts @ 4 ohms) and then a Shuttle 9 (900 watts @ 4 ohms) and I was convinced that the Shuttle 9 was only a little bit louder. It sounded great but did not seems to be that much louder.

[quote name='ltswifty' timestamp='1323697740' post='1465914'] Did a comparison test on Sunday between the Reidmar, EBS TD650 and Markbass LMII, all going into a 4 Ohm EBS Proline 410 (not the cab I would use with it but, wanted a good 4 Ohm cab so I could just concentrate on the amp). Volume wise, I tend to gig with the LMII just below half volume into 4 Ohms and half gain with the TD650 again into 4 Ohms (with 2 Ohm obviously need less gain). I compared the volume of the Reidmar at half gain (input also half way up), and it was louder than either the LMII or the TD650 at the same settings. Must admit that surprised me, I don't know how that works out but that was what I found. So, for my playing needs, it is definitely loud enough. It still seemed to have quite a lot left in it, although I couldn't turn it up much further for very long as there were other customers in the shop and it was very loud. Tone wise it's pretty close to the TD650, but is obviously missing the drive section. It has that glassy EBS top end, but the bright control offered a little less gain than the bright control on the TD650. 10 O'clock on the TD650's bright control seemed to be about the same as 2 O'Clock on the Reidmar. Also, using the same bass, the input control has to be pushed up more on the Reidmar than the TD650 before the clip light comes on. So looks like the pre-amp gain might be a little lower. Compressor functioned well, sounded the same as the TD650 compressor as far as I could tell. The low end on the Reidmar seemed a little bloated/un-defined compared to the TD650. I found myself reducing the low frequencies, either on the bass guitar or on the Reidmar itself to get some low end definition back. The mid frequency sweep on the Reidmar is centred at 600Hz, while the TD650 is centred at 400Hz. After I had noticed that (doh), I had no problem boosting the low mid the way I like it. Dynamics wise the Reidmar did feel a little more compressed than the TD650, about the same as the LMII. It looks well made, with a nice metal casing. It's made in China, but quality of construction and finish looked good to me. Carrying handle on the side may be of some use? Overall I was pretty impressed, I shall be buying one. [/quote] Hey, thanks for the review. That is so surprising that it was louder than the LMII. The LMII is 500 watts right and the Reidmar is 250 watts, How's that work then?

Cheers Evil. Like I say, if I need one, i will be knocking on your door

Thanks everyone. If I find I need one still (goal posts moving at the moment) then I will get myself one.

Thanks Gareth. I think I read that the Club cabs try to create a more vintage tone anyway so it may be a better buy.

Possibly looking at getting a couple of 12" MarkBass cabs but have no idea what the difference is tonally between the Traveller, New York and Club cabs. I can't seem to find much info on the web anywhere either. Anyone know what the difference is tonally? I like the look of the New York range but idealy I would like something thats going to have a warm fuller classic tone rather than bright, detailed and articulate.

Like Chlo_treacher, I have also been very fortunate with my bass playing. Been signed, toured, TV and radio sessions, working with top producers and artists and even been on the front cover of a magazine when all my dream ever was when I started was to record a CD, get a song played on the radio and maybe do a gig in europe. I agree with the old saying that the more you practise and put into it the more you will get out of it. However, I would also add that its mighty important to stop, walk away and come back. A short break of a few days to clear your head really helps re-focus and you will be amazed at how much you have absorbed and perhaps things you were struggling with become easier. So don't look at practising as a regime or a must do for the sake of doing it. However, the most important thing for me which I was told by pure accident under a different context is to listen to everything, every genre of music. So many bedroom warriors or pub players slag of other genres of music and refuse to listen to it because its uncool or they don't like it. To me this is so shortsighted. Music is music and you can always learn something and improve your own playing by listening to other players, be it pop, jazz, rock, metal, reggae etc. Just don't be precious about it, just absorb everything. Many great players in all forms of music. My wife has now gotten used to me playing totally different styles of music back to back. I would play some Miles Davis or Rage Against The Machine and then put onThe Promise by Girls Aloud and she would go, why the hell are you playing that crap. I just say check out the bass line and she then gets it

Last nights gig was ok. We played well but as I am not enjoying it as much for various politcal reasons at the moment I thought I would just play for me and the best I possibly could. I had been playing around for a few weeks with trying to get a much deeper fuller sound out of my Precision and MarkBass combo so last nights gig was the perfect time to put it in practise. Cut the volume back on the bass from 100% to around 85%, dialled the tone back to a bit more bass and ran the amp flat and I got a lovely deep, thumpy tone. Really focused on my vocals also and got some nice comments after about my bass playing and vocals so all in all a success.

[quote name='dave_bass5' timestamp='1323552384' post='1464580'] Army gig tonight. Guests arrived 1 hour earlier than we were told to arrive. Both us and guests entering via the same small door way. DJ disappeared after turning music on, meaning our sound check was in front of a full marquee with bloody Cher playing over us. Then we get told instead of 2 one hour sets can we just do one and a bit. Lovely, only we now have 4 1/2 hours to kill before we get to play. We are sitting in a cafe on the base with a load of squadies watching bloody X factor and getting drunk (them and us). Rock and roll [/quote] HAHA that is ace. A great memory to look back on in years to come

I used to take a back up bass because my old band was a guitar punk pop type group, similar to Ash, Green Day, Feeder so playing driving bass with a pick would eventually end in broken strings as it did from time to time. My basses at the time were a 77 Fender Precision and an ESP Jazz. These days, I play with my fingers in an acoustic type motown soul group and so only take one bass, a 2008 US Fender Precision. I am possibly doing a small tour, supporting at The Roundhouse next year for three nights so I might just get a Squire Classic Vibe 50's precision as a backup in case of any eventualities but generally, one bass for me these days.