shizznit

My stainless sets have just arrived! I only have one bass that need new strings and I have to do a quick set up refresh before I slap these babies on, so I will get back in about hour with my findings!

andyjimgram raised a few very valid points when it comes to being sponsored/endorsed artist. My management hounded Warwick for almost 2yrs before they gave me an artist deal and that only came around when I met the artist rep for the UK at a support gig we were doing for a friend of mine that was already an endorsee. At that time we only just got signed and didn't even have an album to promote yet. Luckily, he really enjoyed my playing, he liked what we were doing and offered to give some support in the form of an artist deal for basses only, but I did actually buy a rig at retail price shortly after. I didn't have any free gear (except for a couple of boxes of Black Label strings), but he did give me a very helpful discount for the basses which I took full advantage of with the use of my puny advance. My name was used for Warwick PR on the website and printed materials which may have made me look like a fully fledged endorsee, but the truth was that I was a normal customer that had a more than reasonable agreed discount. Okay, it helped to promote me and the band when we were cutting our teeth, but ultimately Warwick were the benefactors as I still parted with a lot my money to buy my kit for the sake a name drop here and there. My guitar player was already was one of Calrbro's main endorsee's back then and he helped to design a couple of their guitar amp products. They offered me a full endorsement to help promote a new line a bass amps. I went to the factory with Mike and met the team. The amps were still in development, but I built a very good rapport with the guys and felt that we could work together very well. As my deal with Warwick was only for the basses I took them up on the endorsement. A few months later I sold the Warwick amps in time of the launch of the new Carlsbro bass amps at the BMF show later that year. The rig I demoed that weekend came back home with me ready for our next tour. Carlsbro even gave us our own 6k FOH to support the tour and some other kit for a rehearsal room. It was a really good time and helped us out tremendously. I will always be grateful for their support when I was a young musician. To cut a long story short, about 18 months later after I became an endorsee for Carlsbro the band split and I went into the shadows as a musician and songwriter for a while. I then decided to get back into the fold again as a hired gun, but I had sold most of my gear and no money to replace it. All I had was one remaining Warwick bass and a Lakland 55-02 that I bought whilst I was living in Dallas TX...both of which I still have today. I didn't have any amps or any other outboard gear. So, I thought I would go knocking on some doors to see if I could get any help to support my career as a session musician. As I had a good friendship with Carlsbro during the early stages of my career I called them first. They now only manufacture small practice amps, so they couldn't be much help to me as it concluded. I went to back Warwick and they couldn't give a monkey's. The reason being that I was not a familiar musician and not performing regularly enough with any big names. That was the same story with every other company I approached a few years ago. Since then my work load has increased to the point whereby I am playing full-time, my work is being used by popular artists over in the US and my profile is starting to build back up quite nicely, but I still can't get any sponsorships. I am no longer worthy of a little help as it seems. It doesn't get to me as I never expect a free meal in this industry and I am more than satisfied with the kit I have now and I am able to do my job, but don't be fooled into thinking that a bass guitar or amp manufacturer owes you because you have just put your signature on a record contract or you played in front of the Queen with Robbie Williams last night. It doesn't work that way. I have friend that has played in arenas all over the world for the past 11yrs and only recently got his first artist deal with an amp company, which he has told me wasn't anywhere near his first brand choice, but is grateful for their recognition and support. Thats how it goes for us working players that have yet to be awarded with a Grammy. Companies sponsor/endorse you because they buy into what you do as a musician and feel that your name and level of exposure will benefit the brand, despite how awesome you think you are. You will find that most of the time the company will approach you with an offer and build a working relationship with you...in effect, you become a static sales rep for the brand which carries responsibility if they do offer a discount or free gear. If you are lucky enough to be associated with a brand remember that they chose 'you' and believe in what you do as they think you can help raise the profile of the brand in the marketplace. Be grateful...be flattered and don't take the mick!

[quote name='ped' timestamp='1352399618' post='1862622'] Nice, check back and tell us how they compare. I find the nickels bright enough for me, but it's always interesting to experiment! Can they be bought with a .40-.95 gauge? [/quote] I have been buying the .45-.105 gauge set and a single .130 low B for donkeys now, so I just went straight for them. I just checked the Elixir website and it looks like the stainless gauges start from .45 (the lightest set being .45-.100). They will probably launch a super light gauge into the market if punters nag them for it.

I have been waiting for Elixir to bring out stainless strings for ages! Just ordered 5 sets. I find the nickel plated strings to be quite bright compared to other brands anyway. Not quite bright enough for me, so it has been a bit of a trade off due to the primary benefits of long life and silky feel. I do like my string tone to be bright (like DR, D'Addario). I am sure these new stainless strings are going to be very lively...just the way I like normally em!

I suffer from a whiplash injury I picked up in a car accident years ago and an ongoing wrist injury from my boxing days. Both affect me when I play. I used to just get on with it and battle through it, but as I get older my body does not recover as quickly as it used to. I am now starting to switch to lighter instruments, thicker padded straps, correct and comfortable posture whilst playing either sat down or standing. All of which does help my neck and back. I have been receiving regular chiro treatment for a number of years now and that also helps to relieve a lot of the pain and stiffness. For performing bass players - I would certainly recommend visiting a chiro at least every 6 months...even you think that you are physically okay. I was a sceptic at first, but now I can't live without the therapy. My wrist (plucking hand) is something I can't do much about. The pain doesn't necessarily come from playing, but from doing every day stuff and it then inadvertently affects my playing. Wrist supports don't really help and I normally have to rely upon pain killers in prep for a long gig or recording session. I do strengthening exercises recommended by my GP, but I can't do them when the wrist is playing up as it aggravates the pain. There will be a day in the future whereby I will probably have to quit playing due to my health, but I am trying my hardest to prolong that day as much as I can.

I must of missed that Xylem thread Lovely craftsmanship happening in that workshop...I'm a fan!

Just had a quick coffee with a fellow bass playing friend and he told me that he ordered a bass from these guys a few weeks ago... http://www.xylembassguitar.com Interesting instruments and very reasonably priced. The Carl Thompson look a like models are pretty sweet. I have never heard of this company before, but I will certainly keep my eye on them.

[quote name='EBS_freak' timestamp='1352112075' post='1858728'] Depends on what you are looking at. For example, 2x EBS 1x12s does not equal the EBS 2x12. One is a killer cab and the other cab as a pair falls short of the mark. [/quote] I have noticed that my EBS Neo 212 has a bit more low end punch than a 2x 112 cab set up. There is a lot more air moving inside the 212 cab which then then gets pushed out of the front ports. Similar kind of acoustic difference between an 810 compared to 2x 410 setup. The speakers will always sound the same no matter how many or how few you use in a cab, but how much air pressure is being generated inside and how it is disposed through the ports does make a sonic difference.

I played an Epiphone Zenith fretless with black nylon strings earlier this year and you can get a DB type from that. Nice to play and looks pretty cool too. Almost tempted to buy one myself.

I thought Cody was amazing! Hand on heart...my fav artist I have come across this year. His band are awesome too!!!

[attachment=122514:Bunky_Warwick_Promo.jpg] This is an old promo shot that was needed for the 2004 Warwick product catalogue. Apparantly it was used on the back cover as part of a collage, but I couldn't spot it! If anyone has a copy of that catalogue let me know if you can find that pic!

I try to keep as much as my kit at home in my recording room, but I don't have much space in there. A couple of my cabs and all of my guitar kit is securely stored at a friends studio. Its a pain in the backside having to drive over there if I need something, but he doesn't charge me for storage (which is sweet) and it keeps the misus off my back (even sweeter)

I have rented amps on many occasions, but I have never heard of instrument hire before (except concert pianos and organs).

I have been told a few times that I look like a 'typical bass player' because I don't smile much and I blend into the background. It doesn't bother me much because I am always chuffed when someone actually acknowledges that I was on the stage playing a bass in the first place!

I mostly use my Reidmar for direct recording and I had a similar problem with the DI signal giving my A/D convertor input gain a huge spanking. EBS_Freak told me that a 'XLR Balanced -20dB Attenuator' would sort it. He was spot on (thanks for the tip bud!). You can pick one up on eBay or Maplin for around a fiver. The strength of the DI out signal from my Reidmar is very manageable now. Dunno why the Reidmar DI (and line out) signal is so powerful. My TD650 and my old HD350 DI's are not as pokey as this little scamp.

[quote name='EBS_freak' timestamp='1351610582' post='1853229'] This. Once a Stingray. Always a Stingray. You can dress it up with off the shelf electronics but the pickup type, position and construction means it's always going to be fundamentally Stingray. If you don't like that sound, then the Stingray is not for you. Modding is an option, like stated above - like putting in a P bass... but then you are in dodgy ground - butchering an instrument... and then it may not even give you what you want! [/quote] That's a very valid point. I have ruined a few basses by modding them and thus wasting a lot of money trying to get the bass to sound or even play differently with unsatisfying results. Sometimes you just need to buy the real McCoy if thats what you want. Or...order an instrument built to your specs.

That's the nicest 3-tone burst 55-02 I have ever seen! Lovely figuring on the wood. You will love playing that bass as much as I have loved mine. Welcome to Club Lakland!

Sorry guys, but I will have to wait until the next S.Wales bash to come around as I have just been booked for a gig that evening. Can't make it in the afternoon either as I will be at the Cardiff City v Hull match which kicks off at 3pm.

I don't really get too hung up about nailing someone else's bass line 100%. Sometimes I will play it note for note or do my own thing. I play in a band that play a lot of Northern Soul, Stax and Motown. When I study the songs notice quite a few inconsistencies and mistakes by the player. Usually down to the fact that older songs were not tracked individually in the recording studio and the band would all play all together in one take, so these little mistakes happen. I find it hard to purposely make mistakes...but make plenty of them when I try not to!

I have to teach and record jobs inbetween gigs, so I don't get much rest. However, I do try to give myself at least one day off a week or two days back to back and leave the basses in their cases so I can switch off. It's my job, so I try to give myself some normality as if I was doing any other job. Okay, it rarely happens, but I do try. But, even though I am frequently playing I struggle to find the time to study and practice myself because all of my time and energy is going into doing other things. When I do find the time it's hard to turn down friends and family invitations to do social stuff by saying "nah...sorry. I need to grab a bass tonight and practice my arpeggios!". That excuse doesn't go down well!

MXR have really done a great job with the bass fx pedals in recent years and I am sure these new pedals will be equally as good. Very intrigued about the OD pedal. Can't wait to try one!

After a lengthy conversation with Jon Shuker during my order of my Uberhorn that is currently being built I asked him to recommend a pre-amp that gets as close to a MM tone as possible. He thinks that Seymour Duncan pre-amps are the closest he has heard and then some, so we went for that in the end (the bass will also have a single MM Delano pup in the same position as a Stingray). I obviously haven't received the bass yet, so I can't give any feedback about how that's going to work out, but I trust his experience and knowledge and hope the package will be spot on. I have owned a Stingray and its my fav bass tone, but the only reason why I don't still play one is because they feel clumsy in my hands. I have a lot of friends that are bass players and some of them are not into the MM tone either. It's quite a focussed tone and quite unique. When you play it next to basses with J or P pups loaded you can hear a very distinct difference. Maybe the MM tone is not for you and your ears are becoming more refined to what you want.

There is something about Lakland basses that tick every 'tone' box for me on a job. That's why I pretty much only take my 55-02 to the studio. I never intended for that bass to be a jack of all trades for me when I bought it, but it quickly became that after I got acquainted with it. The low B is incredibly well balanced and tight...one of the best on a 5 string outside of a Dingwall. Plus, it plays like a dream! Over the past 8yrs I would say my 55-02 has been used on 90% of all of of the jobs that I have recorded. It has certainly earned its keep. I haven't found a modern music style yet whereby it doesn't kick ass. I have always fancied a 5 string JO jazz or even a DJ jazz, but as good as those basses are I don't think they would get much of a look in up against the 55-02...simply because I have played it and enjoyed it so much it will always be my No.1 'go to' bass for recording for many years to come. Anyway...welcome to Club Lakland! Hope you have plenty of fun with your JO jazz!

I started life as a guitar player and I picked up the bass 8yrs after. I would say I am equally skilled on guitar as I am on a bass, but I enjoy playing bass more and I get more work as a bass player. No one has offered me a guitar job for years, so if the hat fits...

John uses Fender P basses these days and also a MM Stingray once in a while through Ampeg amps. As far as the distortion pedal...could be anything, but I used to use a Marshall Jackhammer that got very close to the same tone. My band use to cover a couple of their songs years ago...'Joy Ride' and 'The Box'. Since they reformed they have struggled to get a deal and it was unfortunate that they had to change the name to Tons. The outshining member of that band for me has always been Jamie Miller. What an incredible drummer! A band very much cut down before they hit their prime. R.I.P. Lynn Strait