shizznit

I'm popping down to the studio in a few mins to see if we get down to the bottom of this. I feel quite guilty as I was the one who broke it, though the guys down there feel that it is a result of wear and tear from other guys in death core bands that have been thrashing it for the past 12 months. Either way, I feel responsible and I am sure we can both find the fault and fix it tonight. Thanks for your comments guys. I'll get back to this thread in the morning.

Item sold - Boss SYB-5 Bass Synth Pedal The pedal was in great condition (as if I bought it brand new from a store!) arrived well packed. Very easy purchase and great communication throughout. Have no worries buying from Oldman. Top BC'er!!!

My friend was sending txt messages last night that he upgraded his GarageBand to the new version yesterday for the poultry sum of £11 and has continued to brag how good it is. Has anyone downloaded the upgrade yet? Is it really that good?

I didn't know these basses were out on the market until I read this thread. Yummy! Hope you can get the problem sorted very soon. Good 'ol fashioned Fender QC failure once again!

No controls? What a daft idea. What the heck has he done to the finish? White skin?? What is that?

That's what I thought initially, but I was using an EBS Reidmar which can run at 4ohms. I have used it through my EBS Pro 410 (which is also 4ohm) at full tilt and it can handle it very well surprisingly. That cab has twice the amount of power as the Ampeg. I am thinking that I have buggered up the attenuator crossover somehow, but surely that would only affect the tweeter...not the entire cab? Forgot to mention that we also plugged the house Orange Tiny Terror amp into the cab and the problem still happened.

I have been listening to it for a few days now. One of the best albums they have done to date. Not super keen on the vocals as I think they have had better singers in the past, but the songs are great and the album as a whole sounds awesome.

I hope someone will be able to shed some light on this for me. I killed the Ampeg B 410HLF I use at the rehearsal studio last night. Well...of sorts. The 10" drivers work fine, but the cab cuts out completely when I do anything aggressive, like slap. If I turn the tweeter completely off the problem seems to improve. If I turn the cab down to bedroom volume all is fine. At first I thought the problem was my amp, but as I live very close to the studios I rushed back home to grab a 210 and I didn't have a problem for the rest of the evening. I tried the Ampeg cab again before I packed up at the end of the evening and it was still knackered. The guy who runs the studio was a little narked and just as clueless as to why this was happening. What the heck have I done to this cab?

Cheers Nick. I'll pop in soon!

Martin (and the other lads) @ The Bass Gallery in London and Mark @ Bass Direct in Warwick are the only guys I do business with. You won't find better gear or better customer service for a bass player in the UK IMHO. I live in Cardiff, but because my good experiences with both shops over the past several years I will travel to see them. I used to go to the Bass Centre in London when I was a working musician a while back, but they never seem to stock anything I like these days or much of anything at all. They have gone down hill quite a bit which is a real shame. It was an excellent shop once upon a time. In fact...are they still going? I have no idea??

That is one heck of a bargain that wasn't noticed. Hopefully the seller will relist. I tried a Jabba @ Bass Direct last year and I really liked it.

I like the following settings... Dry - 2 o'clock Growl - 12 o'clock Girth - 8 o'clock (or off completely depending which bass I am using) Mid switch - on I play Higher Ground with one of my bands and I will roll back the Dry control to a wetter effect for that song. Sounds awesome!

[quote name='chris_b' timestamp='1335794195' post='1636088'] I don't see the point of this. Why tell someone there's an amp when there isn't? A pretty stupid "test" if you ask me. [/quote] [quote name='Johnston' timestamp='1335794414' post='1636092'] This . It isn't a test it's being a bunch of w***ers with the new boy. Bit like sending the apprentice for a bucket of air for the compressor. If I was told there was an Amp then sent home to get mine and found out there was one all along. I don't think they would have a bassist for that gig [/quote] I think that kind of behaviour is bang out of order. You can't screw people you don't know around like that.

Though EBS amps are widely reputed as 'hi-fi' tone kit, they are certainly not one trick ponies. I have been using EBS for quite a long time and used them for loads of different music styles. I have never failed to find the right tone for the right job. Live - they are incredible. Loads of power on tap and very focussed. Studio - fans are a tad noisy (as are most amps), but the DI and line outs are very clean and the signal is very strong. Just what you need! The onboard compressor/limitter is the most usable inbuilt compressor I have ever come across on any amp. EBS really hit the mark with that one. I love the Fafner. It was the first EBS amp I tried when Bernie Goodfellow was the only distributer in the UK at that time. I couldn't quite afford it even when Bernie offered me a very fair discount, so I went for the cheaper HD350 head which I still use now. Couldn't possibly tell you how many gigs it has done (loads!), but it has been the most reliable amp I have ever owned. Not once have I ever had a problem with it...not even a blown fuse during stage power cuts. EBS cabs are very clean and direct cabs and do tend to contribute quite a bit towards the brightness of the overall tone, not necessarily the amp itself. Even with the tweeter turned off completely the drivers are still very clean and not woofy. If you prefer to match the cab to a rounder sounding cab then you may want to consider an alternative. Ampeg cabs sound amazing with EBS amps.

Education is overrated

The band I joined recently wanted me to play every song in their set during my audition despite only giving me 3 days notice. Luckily, I knew how to play a few of the songs they emailed me anyway, but I did not have anywhere enough time to learn the others. At the audition I played the songs I knew as well as I could and busked the others. They appreciated that they put the pressure on me and were quite understanding. They told me that if I could play the songs I didn't know as well as the ones that I did know once I have learnt them then they were happy for me to join. I have since learnt their entire back catalogue and things are going well. There has to be a little give and take when auditioning for a covers band both if you are checking out a new member for your band or if you are an auditionee (if thats a word!). You will not know how to play every song in their back catalogue or expect a prospectful new member to do the same. You should be able to give the right impression about your skills with the songs you have practiced at home with or already know. The other songs can wait, but you have to show that you can learn quickly and demonstrate your adaptability. You can only try your best and even if you think that you did a good audition and everything is ticking all the boxes for you the decision to invite you back is not down to you. I auditioned for a blues band 2yrs ago and even though I thought I did a belting job at the audition they called me the following day to say thanks, but no thanks. Even by their own admission they said I was the best they had come by so far I didn't get the gig because I was too young! They really wanted a guy in their own age group (40-50yrs). They didn't ask me how old I was when I called them about the audition and it was a huge waste of my time. I ended the conversation a bit confused and giggled to myself. These guys were obviously very particular and I don't think that I would have enjoyed playing with them if they were carrying that attitude. I would expect it from a platinum selling boy band, but a blues covers band fronted by landscape gardener??

I use my Reidmar mostly with an EBS Neo 210. Sounds incredible and plenty of backline volume for small to medium sized gigs. But, that cab is stupidily expensive and may not be suitable for players that like thunderous low end tones. I have used my Reidmar through my Eden 210XLT a couple of times. That cab has a serious attitude in the lower frequencies and sounds a bit more full range than the EBS when you balance the tweeter level. But, David Eden cabs are not cheap. I have tried the Reidmar 3 weeks ago at Bass Direct through a Berg 112 and sounded amazing. I think that amp would perform really well with two of those Berg 112's. Again, very expensive cab...not helping much, am I? I have plugged the Reidmar into an Ampeg B410-HE cab that is at the rehearsal studio my band uses. That cab has a very different musical character to the other cabs and again sounds very good. A bit more low end and plenty loud. I don't think Ampeg do a 210 version of the B series cabs though, so you can count that one out too. Those are the only cabs I have tried the Reidmar through at full tilt this far. At a guess, I would say that this amp would sound great through Genz Benz Focus LT cabs, which are incredible value for money. Mark @ Bass Direct has them in stock at the moment and there are a couple of demo videos on his website. They sound great! The EBS Classic Line cabs are great value for money and sound very good with the Reidmar. A 110+112 setup will sound great, but if you are a budget I would recommend getting the 112 cab on its own rather than the 110. It's quite light, small, plenty of low end punch and surprisingly loud for its size.

I use different fingering depending on the triad shape or if I am high up on the neck. It's very much an instinctive thing for me and I don't think about my fingering position. I will pick up a bass later and have a noodle and get back to you. I am not sure if there really is a right or wrong way. Depends what you feel more comfortable with and makes sense to you.

My old Dolphin Pro 1 custom was built and delivered pretty quickly...about 8 months if memory serves me right. That was about 11yrs ago. Since then, they have extended the custom shop and have more hands working in there, but the waiting times do take a bit longer now. Since Warwick raised their profile outside of Europe in recent years their custom shop is very busy as a result. My Dolphin was a stunning instrument and very well built, but goodness it was expensive. 2yrs after it was delivered I sold it to finance an MTD 535. The MTD was incredibly £800 cheaper than the Dolphin, but even though I considered both basses to be very well crafted and I enjoyed playing them I thought the MTD was better value. I don’t think I will ever buy another custom bass from Warwick again. There are lots of alternatives out there with the same build quality at a better price.

That vid is hilarious!

[quote name='chaypup' timestamp='1335719226' post='1634978'] I only caught half an hour of your second set due to there being far too many things on in Cardiff this weekend! But what I saw was great! Hope to catch you guys again soon. [/quote] Thanks chaypup! Glad you enjoyed what you saw . We had a couple of tech issues, some drunk fella that stormed onto the stage who thought he could replace our percussionist and a singer smacked out of her t*ts on pain killers, but other than that it was a good night and the guys played well.

24hr Pre-performance bump!