BigRedX

[quote name='Machines' timestamp='1501683430' post='3346542'] I know it's a bit more, but i'd be getting one of these: [url="http://www.bassdirect.co.uk/bass_guitar_specialists/LW_VL5_FR_Amb.html"]http://www.bassdirec...VL5_FR_Amb.html[/url] [/quote] Exactly what I was going to suggest.

[quote name='Geek99' timestamp='1501679550' post='3346503'] A generically weak front pickup should have been fixed a long time ago ( it's not like it's a cosmetic change) on an instrument as premium priced as this [/quote] Define weak? Does he just mean that it's lower output than the bridge pickup? In which case why is it a problem? On just about every P-J equipped bass the P pickup is much louder than the J with the volume controls both set on full, but we've all learnt to adjust the relative volume settings to compensate. Why can't we do the same on a Rickenbacker? Also with identical pickups in both locations the neck pickup always tends to sound louder, so having a lower output pickup in this location can be a good idea. Also IME higher output pickups don't always sound as good as ones with a lower output. If you want to drive some valves hard than high output is probably the right one for you. However if you want a subtle and detailed tone, a lower output pickup is far better. Finally which pickup is the "front" and which one the "back"? The front of the bass is the one that faces the audience and has the pickups and controls attached to it, so any and all of the pickups fitted are the "front" ones. Far better to use bridge and neck (and middle if applicable) then there is no confusion.

[quote name='Dad3353' timestamp='1501672128' post='3346407'] Originality can only work if there's someone (or more...) in the band capable and willing to write songs..! In our band, that's not the case, so our options are either to: 1 - play covers or 2 - play nothing. We choose the songs we want to play (and we're capable of playing...) and do that. Simple. There's really nothing special or magical in playing original material, especially if it's not very good in the first place. [/quote] Why is no-one in your band capable or willing to write songs? Songwriting is a skill just like learning to play your instrument(s). You get better by practicing doing it. Everyone in your band has learnt to be able to play at least one instrument (and AFAICS Dad3353 can play at least 2) so why don't you want to spend a little time working on songwriting? Because if you were songwriters you would know that there is very little more special or magical than someone coming up to you after a gig and saying how much they enjoyed the songs that you have written.

However you don't need to be able to play a song to appreciate it and nick the bits you like from it to use in one of your own compositions.

There's nothing wrong with being "influenced by…" Of course if we are playing songs we wrote ourselves we'd like to think that in some way what we are producing was new and different, but the reality is, that if you declare your influences it makes it a lot easier for audiences and venues/promoters to get a handle on your band and therefore you are more likely to be able to get gigs and attract an audience. Getting repeat bookings and keeping your audience coming back will depend on how entertaining your band is, but admitting your influences is useful in getting your foot in the door in the first place. It was a lot easier for The Terrortones to get gigs once we had aligned ourselves with the psychobilly genre, even though of the various influences we cited, it was probably the least relevant.

Yes you can record drums with just three mics, but you do need a decent acoustic space to record in if you are going to go down this route, as the fewer mics you use the more important the room becomes. On the other hand you could close mic every drum individually with mics on both the top and bottom heads of every drum, various ambient mics in different parts of the live room and one in the stairwell down the corridor, with the door open just the right amount. There is no right answer when it comes to recording anything. Do what is practical and what gives the end result you are looking for.

I owned two bits of TE gear in the late 80s/early 90s. First was a GP12 Pre-amp which was great and I only got rid of it because I needed something with programmable memories. I also had a Bright Box for about half a day. It did nothing so it was back in the shop before closing time.

[quote name='binky_bass' timestamp='1500722813' post='3339794'] Look at this on eBay [url="http://www.ebay.com/itm/253051790111"]http://www.ebay.com/itm/253051790111[/url] Just why? [/quote] Someone with basses listed in your signature is in no position to point and laugh at other instruments no matter how ridiculous you think they are ;-)

I don't mind my luthiers being opinionated and a bit grumpy, but please be eloquent and interesting at the same time. Stephen Delft and John Birch both managed it in the 70s so why can't this guy? Instead we get almost 11 minutes of fairly disjointed rambling and swearing while he attempts to set up someone's Rickenbacker bass. I hope he didn't charge the customer for that half-arsed job. Also I don't get why he would want set-up specifications from Rickenbacker. Surely any competent luthier sets up the instrument by feel based on the customers wishes and not by some numbers supplied by the factory? Why is the pickups having different output levels a problem? If you want them the same output adjust the relative heights until they are the same. Maybe they aren't supposed to be the same. Again it's should be a customer choice. Also why is only being able to get the string wrapped twice around the machine head post a problem? If you've strung it up properly two turns are all you need. It's not a Fender where getting a decent string break angle is dependent on being able to wind loads of string around the post. There seems to be just so much vitriol being spouted against Rickenbacker basses. If I was a new player this amount of hatred would make me want to own more than ever.

Who exactly is this "Dave" bloke, and why is his opinion even remotely of value?

The reason you get lots of presets and user programmable memories on modelling amps, is because they are essentially a free extra once you've put in the processing power to do all the other stuff.

[quote name='fiatcoupe432' timestamp='1501488924' post='3344897'] So what do I need if I wanted to record drums with 4/5 mics? [/quote] A really good sounding and decent sized room with a variety of movable acoustic treatments to record the drums in.

A Rickenbacker isn't a Fender... What a surprise!

[quote name='Drax' timestamp='1501234785' post='3343446'] Side question here - but are these for playing bass through? I splashed out on some long coveted wireless Senn R185, about £300 at the time. They had very slight but noticeable latency compared to wired phones, was gutted to have to return them.. [/quote] Nearly all wireless headphones use Bluetooth for the data transmission, and unfortunately low latency is simply not part of the specification.

Over the last 15 or so years I have bought and sold somewhere in the region of £25k worth of items on eBay. I've had a couple of problems but nothing so bad that it would make me stop using the site for either buying or selling. I do think it helps if your buying and selling interests fall outside of the mainstream. Certainly when you sell, the people interested in your items tend to be more serious if it's something a bit more unusual than a Fender-alike bass.

[quote name='hiram.k.hackenbacker' timestamp='1501169476' post='3343043'] Bigger maybe. Better? Not sure about that at all. [/quote] From my personal experience of selling on Basschat and on eBay, I'd much rather sell on eBay. The immeasurably bigger audience far outweighs any other problems I have encountered.

[url=http://www.acguitars.co.uk/acg-eq01-filter-pre-amp/]ACG EQ01[/url]. Personally I wouldn't bother with anything else unless you were to get an ACG bass with the DFM pre-amp fitted.

eBay

The last time I bought a bass I had tried in the shop first I had sold it again within 6 months. I don't think I've ever moved on a bass quite so quickly. Also there is no such thing as a good set up. Only a set up that suits you. Everyone is different and will want slightly different things from a set up.

[quote name='drTStingray' timestamp='1501095624' post='3342516'] Not if they are set at neutral - beyond that they can cut and boost. Are passive tone controls effects? This could be taken to the nth degree. The pick up design and state, the electronic component condition (eg capacitors), height of pick ups, volume control, strength and position of plucking etc all change the sound - they could all be classed as effects. I view effects as outboard devices changing the signal significantly such as a distortion/drive, chorus, delay, flanger, phaser etc etc. The idea that onboard EQ is an effect, to me, is a non standard viewpoint. Unless you're talking external EQ unit and even then I wonder. [/quote] Firstly where is the neutral point of an EQ circuit? It's certainly not the one with all the knobs in the centre position. Every component in the signal path will be affecting (effecting) that signal to some degree. Just listen to the difference between a guitar our bass with the pickup connected directly to the output socket and the same instrument with a passive volume and tone control wired in, even if they are both set to maximum. Even simple passive EQ circuits have the potential to change the signal significantly. If they didn't there would be little point in having them.

[quote name='drTStingray' timestamp='1501091671' post='3342468'] Sorry to muscle in on Blue's debate here but I fundamentally disagree. On board EQ is just a more efficient and comprehensive version of a single tone control. Think hi fi rather than Dansette (60s/70s teens will particularly get this analogy). Talking of effects and distortion effect, I have played a Cliff and the Shadows song from the very early 60s which has distortion on the bass in a gig and got virtually the same effect playing my classic Stingray hard, with the treble turned up against full bass on the guitar's EQ, through my MarkBass set up with no pedals!! I was well impressed as was the band. The remainder of the set was thumpy but defined (like a 60s recorded P bass) played over the neck joint - moving bridge wards occassionally for extra definition. [/quote] EQ alters the sound that has been captured by the pickup(s). Therefore it is an effect.

As I said in another thread on the subject of poor sound at gigs, I don't go very many "big" gigs and at all of the recent ones I've attended with one exception the sound has been excellent and appropriately balanced. Strangely enough the one band that had a very poor sound were the middle band in a 3 band gig and both the band playing before and the headliners had a great sound, so they (or their sound engineer) must have wanted it to sound that way. If I was to attend another big gig with poor sound I would make a point of mentioning it on the band's Facebook page, and probably also find out who was doing the PA and let them know too. Maybe this current trend in crap sound is being perpetuated because no-one is complaining directly to the bands or the PA companies. If enough of us do so maybe they might take some notice?

[quote name='blue' timestamp='1501010104' post='3341792'] I disagree. Blue [/quote] EQ is an effect. Therefore they are the same.

Maybe we should start letting the bands, venues, and the PA hire companies know that we don't think much of their FoH sound.

[quote name='blue' timestamp='1501000310' post='3341680'] Are you pehaps talking about your sound or effects? [/quote] They are the same thing IMO.