BigRedX

Actually in some countries "H" is used instead of "B" and "B" means "Bb"

I've played basses with all sorts of scale lengths from 26" to 36", and TBH it takes very little to swap between them, but maybe that's because I play a variety of other stringed instruments, so I'm used to all sorts of scale lengths. My first bass was a Burns short scale, and I never used the E string on it, because it sounded rubbish when compared to the others. This turned out to be down to Rotosound failing to be able to make decent short scale round wound strings in the 80s rather than any actual short-comings of the bass, as it was fine once I discovered Newtone strings.

I used to own the Manne Mandobass which is a piccolo bass with a 26" scale. [IMG]http://i114.photobucket.com/albums/n249/BigRedX/Bass/ManneMandobass.jpg[/IMG] I strung mine with a bottom 4 strings from a set of TI heavy (with a wound G) guitar strings.

If you want to thicken up the sound and accentuate some of the fretless nuances, try a good compressor - that's one with at least Threshold, Attack, Release and Gain controls, and instead of chorus which can make the sound too swirly and indistinct, try a pitch shifter set to unison with a very slight detune of a few cents. IMO older models work better since they have a noticeable processing lag which adds enormously to the sound. For that you can't beat the original rack mount MXR Pitch Transposer. IIRC much of Mick Karn's studio sound was created by selectively double tracking his bass lines.

IMO the classic solid state guitar amp is the Roland Jazz Chorus, so how about their [url=https://www.roland.com/uk/products/jc-22/]30W JC22[/url]?

DT100s are tracking headphones. They are designed to give you a useable working sound with the minimum of spill, so that you can record your part(s) while hearing everything clearly but not necessarily accurately. I wouldn't even begin to think about using them for mixing on.

[quote name='KevB' timestamp='1480677039' post='3186280'] Easier to change a bolt on [/quote] Why would you want to?

[quote name='Pinball' timestamp='1480665811' post='3186167'] Hi, I used to think that neck-through was something to aspire too until I got a used Ibanez 3005 wich was a stunning bolt on model that changed my mind. I have since worked my way though many basses sice to get to my current favourites (Stingray's and G&L) and it I dawns on me that they are all blot on models. I have had both types at the same time and couldn't hear any difference. I have noticed that the bolt-on's seem to generally lighter in weight but that is about it really. Waddyathink? [/quote] IME every single bass sounds different, but nearly all of then sound like basses when you get them in the band mix. It's impossible to quantify exactly what difference having a bolt-on neck makes since nearly every aspect of construction between a neck through bass and one with a bolt-on neck is different, so how can you tell exactly what effect the fact that the neck is bolt-on is making? My personal preference is for neck through or set neck since there is less neck joint to get in the way when playing higher up the neck.

When I started playing in the 70s a lot of the musicians I was interested in had huge collections of instruments, so naturally I aspired to the same. Back then if I could have afforded a second guitar, I would have owned one. When I started gigging regularly on bass in the early 80s I bought a spare pretty much immediately.

[quote name='bubinga5' timestamp='1480511026' post='3184951'] Well my budget is around £150 and looking for second hand. Don't know anything about the quality of the squires apart from a standard tele that a friend has and it's really nice sounding and playing. [/quote] For that kind of money I'd also be looking at the Yamaha Pacifica range.

Dad, your Bassman amp dates from a time when there was little difference between guitar and bass amplifiers, and in fact it has gone on to become a far more popular as a guitar amp than as a bass amp. Modern bass amplification like that owned by the OP is whole different kettle of fish, and while guitar amps outside of those designs based around modelling technology have most gone back to designs from the 50s 60s and 70s, bass amps and speakers these days have far more in common with PA amplification in that they are very much more full-bandwidth amplification. For the OP. As I said in my original post you'll need to try it and see what you think, and TBH how suitable the amp is will depend on what sorts of guitar sounds you are after. (What sorts of guitar sounds are you after?) However expect to have to do some serious playing with the EQ just for starters, and while I note that your amp does have some sort of drive/distortion circuit it might not be voiced in such a way to flatter the guitar.

Does it have to be a Squier? Personally I'd buy a new Harley Benton from Thomann for about £70. You might even be lucky enough to pick up a deko model for half that price, that has nothing wrong with it other than the "D" stamps on the body and neck.

REM along with The Smiths were bands that pretty much everyone I know thought were great, and I never really understood the attraction, and even now they still don't do anything for me. I like the odd track here and there, and given that they have a fairly extensive back catalogue I could possibly make myself a 40 minute compilation of songs I like, but I couldn't listen to any one of their albums in its entirety.

You won't know until you try it, but be prepared for it sound rather disappointing. On the other hand you won't actually damage anything.

Before ordering any kit guitar or bass, I'd have a good look at Crimson Guitars review of the kit telecaster. Here's the first part - find the others on YouTube. http://www.youtube.com/watch?v=iKPRndjKM68 Unless you are looking at building up your luthier skills and a collection of esoteric guitar making tools, IMO your probably better off buying a second hand Squier.

"I Feel Love" by Donna Summer - in order to answer a question from another thread, followed by lots of other things vinyl (but only those that play at 45RPM because changing it back to 33 is a complete ball ache). Right now I'm on Doot-Doot (12" Mix) by Freur.

[quote name='BassBunny' timestamp='1480325229' post='3183289'] Are you are going to go passive without any controls? First remove/un solder the pickup wires from the Vol control. Un solder the wires from the jack, (i'd make a not of where all the removed wires go in case you want to revert back to active. Then do as verb suggested. It looks like your pickup wire is shielded so the center/hot wire to the tip of the jack and shield to the body. As verb pointed out, a multi meter is your friend to establish which contact is the shield and which is the "ring" or switch contact to turn the pre-amp on. If you want a passive Vol/Tone control then after all the un soldering, remove the pre-amp and controls and Google the diagram for a Fender P Bass and use that. [/quote] Personally I'd replace the jack socket as well since you no longer need a switching jack if you are going passive. Unsolder the pickup from the volume control and then remove the whole pre-amp assembly as a single piece. That way you'll have less to do if you ever want to put it back in. Then look for a standard P-bass wiring diagram and follow that with new pots for volume and tone, plus a tone capacitor and standard mono jack socket.

Try a 3/16 note, single repeat delay. Then play the riff as 1/8 notes. That way you get a 1/16 note pattern, but the repeats are spaced further apart that it doesn't sound as cluttered. It's a while since I seriously listen to the original but IIRC that's how it was done in the first place. You can hear this on headphones since the original notes and the repeats are panned either side of the stereo. However one of things that gives "I Feel Love" it's unique feel is the precision of the sequencer that is driving the riff. That means practicing playing the riff with perfect timing.

I've come across the jack plug being vibrated out of it's socket once when using someone else's Ampeg rig where the DI was connected through the line out on the back of the amp. IME jack sockets should have a good enough grip for the plug not the get vibrated out, so I would suggest that there is something wrong with the socket. Also from experience I will no longer allow Planet Waves leads to be plugged into any of my gear. I've had to replace the jack socket on a couple of my older guitars which were used with Planet Waves cables. These days, anyone who uses my amp at gear share gigs also has to use my OBBM cable as well.

[quote name='casapete' timestamp='1480321342' post='3183254'] Professional band, all with day jobs? Mmmm.......approach with caution. [/quote] IME only the very biggest names playing original music, or the songwriters in long running bands with a large back catalogue can get away with not having some other source of income during the times when the band isn't touring or recording.

If the band's management and label are actually any good, there won't be a lot for you to worry about since they should be doing all the day to day organisation of the band, leaving the musicians to get on with doing the the things they should be best at - namely writing and playing the music. However don't sign anything without getting it checked by a lawyer who specialises in the music business. Now would be a good time to join the Musician's Union since they can put you in touch with the right legal people and also offer a free contract check for members.

IME glossy necks look and feel great. All the basses I use regularly (Gus, Sei, Warwick Starbass) have high gloss necks and I've never had any problems with them. Maybe the finish that these manufacturers use is more suitable than that found on cheaper instruments? The stickiest necks I've ever come across were on new Warwicks with an oil? finish, followed by a Traben bass that had such a thin satin finish on the neck, I could feel the grain of the wood. Neither were very nice to play.

[quote name='Bill Fitzmaurice' timestamp='1480081397' post='3181521'] Of course they'll do so while using a full stack, whereas they would accomplish the same effect using a sensible 50w 1x12 combo, giving an entirely new meaning to the term 'dummy load'. [/quote] But there are some genres where playing with anything other than a full stack behind you, just doesn't look right, and when it takes up the same floor space on stage as a combo on a tilt-back stand, what's the harm?

[quote name='Grassie' timestamp='1480067524' post='3181377'] Mmmm... the posted image isn't very big on my screen, although the actual image is 300dpi... Any suggestions to enhance your viewing pleasure...? [/quote] An unfortunate side-effect of using the Basschat image hosting and the need to conserve space on their server. Try an external image host like Photobucket.

Dummy loads are for guitarists who want to make the power amp valves in their amp work hard without producing ear-splitting volume.