Kiwi

Greatest Dancer or Forbidden Lover could probably be rearranged as jazz standards.

It sounds like a noise gate or level issue. But you're not using a noise gate...are there any threshold related settings that you might need to pump up a bit? Other than that, it might be a dry solder joint somewhere.

welcome I always preferred Noiseworks myself but there's no denying Cold Chisel's popularity.

[quote name='leftybassman392' timestamp='1476036998' post='3150710'] he must be pushing 70 by now. [/quote] Yes and not enjoying the best of health but he's getting by. [quote name='Freddy Le Cragg' timestamp='1476120697' post='3151533'] The one amp I regret selling in my Burman 501. IT was a beast of a thing. [/quote] Looks very clean too!

[quote name='Tuco' timestamp='1479343462' post='3175892'] EVH 5150iii The cleans are awesome and goes to about as brutal as it gets. Well within your budget. Would be great through a Mesa 2x12", the resonance control makes my 2x12" sound thunderous. I used to use mine as my bass head too, I can't say enough good things about this head!! [/quote] I agree, these are fantastic hi gain amps too if the budget will stretch.

[quote name='Danuman' timestamp='1479080537' post='3173835'] If you don't mind buying a used amp, a Peavey classic 30 wouldn't stretch your budget too far. Those little monsters keep up with the best of 'em. [/quote] This would be my suggestion - get one of the older models (the newer models have a curve in the top side of the front surround). Stevie Ray Vaughn played through them and so did Nile Rodgers for a while. Great Fender tones.

I remember a Gibson SG I played had a wide fretboard, but the neck was pretty slim.

At risk of making things a little more complicated, the time I investigated Plekking I was informed that by a reputable music shop that it was a waste of money. Apparently the Plek machine didn't account for the inconsistent curve of the neck as it was under tension. This was quite a few years ago so perhaps this issue has been addressed in software updates since.

I have two shuttles these days but don't/can't gig. However I used to run an Eden WT800 in stereo many years ago. Stereo isn't ideal live where there is a lot of onstage volume as the lows lose the little direction and definition they have. But I've done it anyway with stereo chorus and fretless and dialled back the bass a little. It was one of the most memorable and satisfying playing experiences I've ever had. If you don't use stereo effects there's not really much point and the load in is so much easier.

Blessed Instruments of Loving and Glorious Enlightenment: You Know Why I'm Your Daddy?

Ibanez tsa5, £90 from thomann and they have tube screamers built in. The blackstars look nice too, don't worry about the headroom when there are so many pedals out there which will do a great job.

[quote name='skankdelvar' timestamp='1478044687' post='3166400'] [i]oi-disant[/i] milquetoast[color=#faebd7].[/color] [/quote] Do you make these words up?!

[quote name='mep' timestamp='1478029163' post='3166211'] The pre shape is a bit useless I found. Ok on its own but no good in a band situation as it gets lost. I went for boosting the low mids which will cut through more. [/quote] Me too. It sucks out all those frequencies I use for telling what pitch I'm playing. [quote name='PaulWarning' timestamp='1478030242' post='3166228'] that's what I've found, although as I said before I do cut around 6K Hz to get rid of 'boxiness' which is what some of the preshape does, and boost the low mids 100 - 200 Hz, I'm just interested in what certain frequencies do, for instance I've found that cutting 60 Hz gets rid of booming when I'm play around the 7th fret on the A string on my P bass [/quote] 6KHz for boxiness is new - normally those frequencies are around 400-600Hz. Be careful with boosting 100Hz if you're in a small room, have a hollow stage or are in a highly reflective environment. Having the stage awash with sub 100Hz frequencies is not necessarily a good thing unless you're playing a stadium or on the back of a truck outside. Lots of players make the mistake of thinking that what sounds good in practice will sound good at a gig. They then play through a set up where not being able to hear themselves is normal and they think it sounds great because it worked in rehearsal. Often bass players (and guitarists) just need to cut back [i]a little[/i] on the bass in order to achieve better clarity on stage.

The Hellborg set up was designed primarily for acoustic playing and has MASSIVE amounts of headroom for a super high fidelity experience. This means the transients from piezo pickups pop cleanly and with less compression than other run of the mill rigs. It sounds hyper real to the untrained ear. So if you don't go for the full set up, you only get the benefits from the parts you have if each non Hellborg component in the signal chain is also capable of massive headroom - the principle of weakest links in the signal chain applies from your fingers to the speakers.

Yes West Systems is the epoxy to go for - if you can find it, but anything suitable for repairs in marine environments will do the job. Do you have a radiussed sanding block?

[quote name='lowdown' timestamp='1318748292' post='1405696'] A Bassist called Graham Edwards also did his bit with Go West live . [/quote] I learned yesterday that he and his wife are 2/3 of one of the biggest song writing teams in LA - The Matrix. They came to attention originally after writing Avril Lavigne's break through hits Skater Boy and Complicated but now they're being chased down left right and centre by every A+R department in LA. He's done rather well for himself since!

[quote name='pete.young' timestamp='1477608961' post='3163414'] Isn't Hanks owned by the same people who own Music Ground and several of the other businesses on that Street? [/quote] Not any more. They (the Hendersons) went bankrupt and Hanks was bought by a US based music company. I've had very recent dealings with Hanks. FWIW Camden made the area a conservation area in 2010 so if there are any further issues with development, the Secretary of State can be brought in to make a decision. The cost of mounting a legal case for redevelopment makes it very (and unnecessarily) expensive for developers. However, having said that, Camden have still announced proposals to demolish n[color=#252525][font=sans-serif]umbers 1–6 and 17–21 Denmark PLACE (not street), which run parallel along the back of the street, and the York and Clifton Mansions will be demolished, along with partial demolition of No. 21 Denmark Street to make way for an 800 seat performance venue.[/font][/color]

[quote name='project_c' timestamp='1477518719' post='3162811'] The demolition of that entire area was 100% unnecessary and nobody asked for it, it's just another nail in the coffin of London's cultural heritage. 'Revitalization' is a funny expression to use for an area that had its vitality bulldozed and replaced by Costa etc. [/quote] OK... 1) I'm not sure whether you're directing comments at me personally or whether you're having a general moan. I'm not interested in being scapegoated for what is going on but I understand the sentimental attachment to the area. 2) I'm not sure what you mean by 'that entire area' either. Denmark Street? Crossrail? TCR/New Oxford St junction? The entire area I worked (everything apart from Denmark St) on hasn't been demolished, just the bits that the Crossrail station is on/under. Crossrail has an Act of Parliament that says it gets automatic planning permission and the local planning authority can only raise conditions that need to be met. So there was bugger all hope of stopping Crossrail from doing anything - unfortunately. Their core area sat right on top of the Astoria and the location of the station was largely dictated by the massive amount of infrastructure and piling on under TCR/New Oxford St junction. There was very little flexibility for locating things in any other place than where they are. From what I can see, there's plenty of vitality still in the area despite all the work and once Crossrail comes online it'll be heaving. The main challenge with the urban realm proposals was getting people away from the area, not attracting them.

If you asked Aaron Armstrong to make you a woofer pickup using neo magnets, I'm pretty sure it could be done.

I was involved with early planning and design for that whole area TCR/New Oxford St junction but NOT Denmark Street. Consolidated Developments own Denmark Street and were planning to redevelop in order to take advantage of Crossrail's revitalisation in the area. But the demolition of the Astoria left some pretty pissed off people behind and they didn't want to see yet more of London's musical history being lost. I'm glad Consolidated cooled their heels a little bit and decided to manage the whole change process a little more sensitively.

He's a great drummer. Given Mark King's tendency to keep driving the song along with his playing, I always felt Garys playing never quite sat comfortably within L42. Despite being a stunningly talented musician, he plays right on top of the beat like so many other formally trained session drummers. I'll hasten to add that isn't a criticism or judgement, it's only mentioned due to the dominance of Mark's playing on the music. With Pete and Phils playing further behind the beat, it made the groove in so many tracks feel more settled and solid. [quote name='lojo' timestamp='1477488170' post='3162543'] but Mark King certainly choose well [/quote] PRB has been a lifelong L42 fan from what I understand. There are clips out there of him attending a L42 concert as a young teenager and meeting Gary Husband.

The colouring of SWR amps definitely sounds good with bright sounding basses in my experience. For example, adding some girth to graphite necked instruments. The Hughes and Kettner Base 600 head I tried couple of years back did the same thing - not common but great sound. [url="http://basschat.co.uk/topic/35922-hughes-and-kettner-bass-base-600-head/"]One was for sale on here many years ago too.[/url] I suspect it's a little lighter than an SM1500...

Greenboy fEARless F112 is worth a look.

[quote name='Prosebass' timestamp='1477269892' post='3161050'] Her technique is flawless. [/quote] Not quite flawless in that second vid, but her playing is in a different league I agree. She must really like playing bass.