jimmyb625

I'm 5'6" or thereabouts and a right lardy fatbum to boot. I play the Warwick Lee Sklar sig model and don't feel it's too unwieldy. To be honest, I've never given it much thought, so I may well obsess about it from now on.

I've used them for a while and have no complaints. I'm sure there are better sets out there, but I would think I'd need to pay a lot more to get a noticeable improvement. I only ever use them live, so can't comment on using them for studio stuff, but they do the job I need them to do.

I think it's more a case if you have a bad practice immediately before the gig, you make more effort during the gig. When I've directed plays, it's often been the case that a few days before opening, we have a shocker of a rehearsal. People have a tendency to "coast" once they think they've got it cracked in terms of their performance, which can then result in it going completely haywire. We also find, during the run of the show, that opening night is great, then it drops on the second night, as again, complacency sets in. The rest of the run then picks up again to the previous level. There will always be things that happen which you don't expect, but as long as you carry it as a "team" 99% of the time the audience won't notice* *I'm excluding the last song of our set on Friday night, where it was very noticable for most of our audience, apart from the lead singer/guitarist's wife! 🤣

I think a lot of the perceptions around Fender/Gibson being the best you can get, dates back to the 60's, where the quality of instruments available wasn't great on the whole. If you look at interviews of people like The Shadows, Pink Floyd, the Rolling Stones etc, they always talk with reverance about getting their first Fender. If you also look at what the big groups were using, so many of them were using Fender or Gibson, there was an association that they were the best.

Very local gig last night, with an outing for the 5-piece variant of the band. We were playing as a part of a town council organised weekend music festival, with various places across the town hosting events.

David Gilmour's Esquire is pretty worn, although by all accounts, that wear was already on it back in the 70's when he bought it. Maybe it's the earliest example of relicing?

I tend to agree, they've been creeping up in price over the last few months. There are a couple on ebay/reverb, one has a non-original bridge for £2,999 and there's a clean looking one from Vintage Guitar Emporium at £3,995 (although it's cheaper if you go to their website/shop)

If it's quite an "important" or big gig/festival, I'll take a spare bass, but apart from that I'll use whatever. Nowadays, I'm not even taking one amp, never mind two. Having said that, if I was in a smaller line-up, or reliant on specific effects/sounds, I may have a different approach.

It's good. I don't have much to compare it to, as I've never bought an old bass before. The frets are fairly worn, but still usable and there's a little bit of string buzz, but I'm guessing that's fixable. Overall condition is good, definitely doesn't look like it's been thrashed too much.

And it's in my grubby little hands now! 🤣

New Old Bass Day and a very early 50th Birthday present (which I still firmly believe is a typographical error). This is a '73 model, like me, which came from the good folk of BassBros. Overall, it's in pretty good condition (unlike me) and I think the only non-original part is the volume pot, but I'm not overly fussed by that. The frets are quite worn, but I've not noticed a significant problem with it in the very short space of time I've spent with it so far. Worryingly, it looks as though inheritance claims have already been made, so if I'm found suffocated at some point, there may be a clue as to the culprit...

I once made the mistake of getting into an online "discussion" with someone who was a true believer in the benefits of using a ridiculously expensive USB cable. An utterly pointless exercise, at one point they argued that because the digital signal was electrically based, in a "type of waveform" (their words) the quality of cable made a discernible difference to the sound quality... 🤦‍♂️

Fools and their money and all that good stuff. I feel it's especially important to get the very best quality, so I'll be ordering one of these: https://www.mcru.co.uk/product/cad-usb-cable-ii/ I think I'll use it for my printer.

Careful, especially if you've got a black precision...

It sounds like he doesn't understand the function of the QC and modelling in general. Best just to take a breath, chalk it up to experience and run the on-stage amp as loud as is physically possible.

As much as I don't really like to criticise the sound operators, this one sounds like they don't really know what they're doing. A pair of xlr's into the desk sounds ideal to me.

Possibly, but it would depend on how well I knew the person who wanted to borrow it. For instance, I've lent my 5 string to our drummer for some recording he did and the guitarist/singer has my Vintage (brand) precision on long loan as he's been asked to do some bass lessons at the school he teaches in. I also have a Sue Ryder precision that I've lent out in the past. I'd lend some people my Warwick, but only if I knew them, but in the OP's situation, it's doubtful I'd lend it, but I'd offer one of the others.

I'm the world's greatest bass player. Not only is this an unpopular opinion (certainly in my band), it's also verifiably not true.

I've heard people say they've had mixed results trying it, so haven't bothered too much with looking into it. I've gone down the route of using 2 tablets, one for the main mix, the other for sends. If I ever do miss the physical surface too much, I'll take along the QU24, although it's definitely not as easy a load to shift.

I'll see if our lot are up for it. Any particular style of music?

The X-Touch is a really good add-on for the X-Air, I wish Allen & Heath would do a similar thing for the QU-SB.

I'd choose whichever bass I found the most comfortable to play. If you're playing live, the audience aren't going to be listening for the exact same sound as heard on the original records.

Played The Half-Moon in Putney last night. Great venue, although there wasn't much of an audience, which we put down to a choice of: It was a Thursday night It was well outside of our local area People don't like us Aside from that, it was a really enjoyable evening, challenging as the drummist wasn't there, but good nonetheless.

You could split the DI out. I use a behringer 8 channel splitter, but there may ne single splitter units available. The line out should work as well. I think with the mei1000 you can adjust the L/R volume levels at the transmitter. I did an ampless gig last night using the same KZ/Behringer combo as you and overall it worked pretty well, but I would have preferred control over my mix, as there were a couple of moments when I struggled to pick out what I needed.

I completely agree with you. I've been lucky enough to do some decent sized festivals with the band I do tech stuff for. There's no way I would go to one now as a punter, I'm too old to be queueing for communal toilets! 🤣