PaulKing

You will be thrilled, nay, ecstatic.

Forgive this incoherent ramble, might be of interest to someone. First, an odd observation. I use f-hole plugs to stop feedback. Can't recommend highly enough. The other day I was pulling them out for some reason or another, or maybe putting them in, cant remember. Anyway, I started playing with JUST the G-side plug in place. Wow! For some deeply complex audio-physics reason, to my ears as player (which as we all know is not the optimal place to hear your own bass tone) it suddenly boosted the bottom end into a huge rich soft bloom. I pulled out the other plug and that bottom end faded away again. I tried it on another bass - same effect. Tried blocking just the E-side ... didnt work. Who knew? Wanna hear your own tone - block up the G side f-hole. Now, here's another thing. I've been a happy Fishman Platinum Pro pre-amp user for many years. Crucially, I also use a Line 6 wireless. I'd always known this kinda acts as as an impedance buffer, meaning you don't strictly need a preamp. But I like the EQ, and phase, and HPF and tuner etc etc all in one little box. So I stuck with the Fishman. But recently I started getting frustrated with those times when I couldnt quite cut through mix at gigs, and with the constant fight over honky mid range, especially when slapping. I know you should never make multiple changes all at once ... but I did. So first thing, I've switched from Gut/nylon combinations to EP Weich + gut G. Right from the outset, no surprise, I have much better definition to cut through mix. Have to change playing style a bit, and slapping is a bit more sensitive (cant beat gut for a nice slap tone). But then I noticed how the Fishman coloured my tone - for a start it cuts the strength of the signal, a lot. I dunno, it doesnt like what's coming out of the Line6 receiver or something. I'd always run it at full volume, with no trim. But if I plug the Line6 straight into amp, I get a much hotter signal. So, hmm I thinks. I dont want to lose the extra EQ control the Fishman gives. If anything I'd like a bit more flexibility. So I went low fi ... in fact back about 25 years to when I used a Polytone pick up with steel strings and a really ancient wireless set that needed boosting - so I ran through an EQ pedal and whacked up the gain. So I just swapped the Preamp for an old Boss GE7Bass EQ pedal. Then I stuck in another (standard) GE7 for good measure, and gained an extra 5 frequencies on my EQ chain. I dont need to touch the gain on the EQs becasue the signal from the Line6 is hot enough. Without the beloved Fishman pre-amp in the chain I'm actually finding the mid range much less problematic from the ouset. And in any case, with 12-band EQ (including multiple hi-mid bands) it's much easier to selectively tame when I do need to. I've compromised my authentic retro Willie Dixon slap tone a bit, with the EPs, but in all honesty that tone is at its best acoustic anyway. But what I'm left with, combining EPs with new EQ chain and wirless ... is really clear, punchy, beautiful rich tone. Rest of the band have all commented. So there you are.

I have a litlle tiny PJB 2x4 thing in my kitchen. (Its a lot of money for a tiny thing, but it does kick an impressive volume out for its size, great for practicing electric bass.) I dont LOVE its tone though, its a bit mid rangey, and when you kill the mid it gets wooly or scratchy depending on Bass and Treble setting. I use an EQ if want to dial in a really nice tone. I dont know if that's the same for bigger PJB stuff. It actually reproduces upright slightly better, and can definitely add a bit of volume in a small acoustic practice setting. +1 for Markbass for gigging. I use Markbass CMD121P (with 121H extension for louder gigs). I've played pretty big hall venues with it and it is always way loud enough. Also needs a tiny bit of help with EQ for my taste, but overall, love it..

How long was the sticker on for? Couple of years? Easiest solution, cover up the rest of the bass with opaque tape, making sure you leave the offending patch exposed. Open your curtains. Leave bass in full sunlight for 2 years. Bosh. Sorry, couldnt resist being a Richard....

Ooh, spiro weich slapped, criminal. Milt Hinton might get away with it but that’s no rockabilly sound. Evah Pirazzi weich sounds pretty good slapped if you can tame them with technique and eq. Give great pizz and slap. And Innovation braided solo gauge are good too. just don’t set the strings too low, you won’t be able to get purchase on them.

I recognised all that in the E I tried. It’s nice, quite soft and airy, very bright to begin but mellowed quickly. im suspicious I’ll prefer them to Spiros where I want a Spiro sound ... but all in all I’m digging EP weich for the sound I want ... clarity with a big nod to gut thump and fundamental

Evahs I enjoyed the Perpetual E, a very scooped airy sound, soft. Would be interesting to try amped to see how it cuts through. Otherwise very spiro like. But plumped for Evahs and got a set. EP weichs surprised me. I’ve actually paired EAD with gut G and the set is beautifully balanced, matched, and I’m very happy with the click for moderate slapping. They have great thump, so I’m not going to feel I’m missing out too much, but they have all the articulation and punch through of steels. For the 50s RnB Soul Blues Ska Jazz mix I’m playing mostly now I reckon they’re going to give me all I need. Trying out in anger Thu night, full band gig. See how they cut through. I tried Spiros live, and sure they cut through amazingly, but sounded a bit thin and modern to me. They’re great fun to listen to though ... completely new character to my bass! They will work with he BB King ‘Regal’ set I’m going to play.

Good signs ...

Yeh, but listen to the clip he made on day one, better mic placing... It also sounds gorgeous through his KNA pickup ... I'm minded to try mine out again. Though I think it struggles with scratchy high-mids, will really show up any raggedy slapping I might do with steels .. and is a bit feedback prone with big bottom end. Based on my single road test in live setting. Sweet sound at low volume though.

I'm seduced by that Perpetual thread too, or mainly by the phenomenal buttery tone on Rick Wolff's bass, and 'low tension and flexible' description here . I'm sure my vintage ply will sound exactly like Rick's with them on. 😁 I've got a Perpetual E and an Evah Pirazzi weich A heading my way as step 2 in my radical venture away from deeply-ingrained gut purism. I'll let you know which I prefer, or whether Spiros have enough thump to to the job. Or whether I go back to guts after all.

Underwood, Line6 G30 Relay, Fishman Plat Pro Bass mk2, Markbass CMD121P + extension cab 121H Nothing ground breaking there. The Line 6 squeezes a bit of sub out, but that gets EQd out anyway. It also balances signal, so I dont REALLY need the Fishman. Basically use it as EQ / phase / tuner / HPF unit. I'm increasingly convinced the Fishman DOES colour the sound too - certainly cuts the signal a bit. Hotter if I go direct into amp ... but I like its features.

Here is a thing, for anyone who's interested. Over the years I've become a gut purist. I've played nothing but gut G D, and various gut-like combinations on E and A for like, a decade. No mistake I love the tone, and I play lots of Willie Dixon / Larry Taylor (RIP) slappin blues. Even when not slapping, I've got a big plucking bouncing arm waving style that relies on yanking those strings to buggery with my whole arm. But truth be told, I often disappear in the live mix a bit. And I really never record... so pains me to acknowledge I'm probably not getting the best out of those strings, and my prefernce is largely based on principle. So, the other day, in a moment of madness, and in preparation for a BB King Live at the Regal type project, I decided to throw caution to the wind and sling some Spiro weichs on my back-up bass (B+H). I thought I should go for a more modern jazzy sound for a change. After a couple weeks they're just bedding in nicely now. And despite my bias, I'm really digging the novelty of having clarity and growl (acoustic at least). So I'm going to take the bass out for a blues gig this weekend, see how the spiros cut it live and amped. I know they're often accused of disappearing in the mix. And I worry I'll miss that big thump. But maybe I can dial that in with EQ anyway. And I can only imagine they'll cut through more than my trusty Lenzner/Lambert/EP Slap combo. And maybe, as much as it pains me to say, maybe I will actually like it, even in a blues / RnB setting? Hell, I might even get away with a little slapping here and there, if I can tame the clank? I'll let you know. It doesnt end there though. I listened to some clips of EP Weich, and the new Pirastro Perpetuals. And I imagined how they might sound on my vintage plys, Kay and Mortone. Plus, I played a Mortone wearing Innovation Honeys the other day - nice. So I bought a couple of test strings (Perpetual E and EPW A). Considered Velvets for a moment, but I think I'll go all the way. So here I go. OMG am I about to forgo my purist pretensions, and cross over to the bright side? If it means my pianist can actually hear what I'm playing, and I can still get something approaching a nice warm thump, and I dont sound like a car crash with the odd slap ... it makes sense right? Or will realise the madness and go back to guts? Place your bets... Love a bit of string GAS every few years. It's all worth it for the novelty alone. And I'm actually really excited to hear another side to my beloved Mortone and Kay... Carry on.

Thanks Miles - yep I've got a 950, it's pretty much identical to the Underwood, but not exactly. At least that's what my head tells me. I just find it easier to dial in tone with the Underwood. The KN-1 is surprisingly good too. I might give that another go at some point. Crystal clear and warm. Didnt really road test it fully before and I think I got it to feed back. Needs fiddling with.

Meanwhile I'm going to try cutting off an element, like what they tell you not to do ... but I got nothing to lose as ones giving up anyway.

Keep trying alternatives, never quite happy. Anyone got one they want to get rid of?

Never slapped Helicore or Obligatos, but the Innovation Braided orchestrals have good dark slap sound. Only trouble is the concert pitch set will be a bit high tension ... the solo set are much nicer for slapping - one of my preferred strings for slap in fact, they are comparable to the MUCH more expensive Evah slaps.

I want it

Another vote for Paul - picked up his used Line6 Relay G50 wireless set. Quick bank transfer, package arrived as fast as a fast thing, good as gold. Cheers!

I did a heap of reading. Almost unanimous support for the G30. (Incidentally UK-lefty, the G30 has cable tone switch too. It just seems to limit the top end a bit.) BUT, I did find a couple of references to exactly what I noticed, a loss of rich depth at the low end from G30 ... and in those references the G50 came out better, more faithful to cable tone. So, thanks to Basschatter bassfan I'm going to try out a G50 to see if its any better. I find the special cable irritating, but its a small price to pay if it works, I'm also hoping the G30 transmitter will be picked up by the G50 receiver, so I can keep the receiver on my electric bass for when I want to switch between the two. Update to follow after A/B test.

Today I am mostly mortified. I have sworn by Line6 G30 for many years. Indeed I have NEVER had any drop out. It sigids rigid behind tailpiece and withstands all manner of athletic upright bass antics. And it is so damned convenient: pick up bass, switch on, play ... I even use it at rehearsals. Its a long time since I had an opportunity to do a really serious AB test with it, but prompted by a recent and very rare gig where I played witha cable and thought my bass sounded particulalry lush ... I spent half an hour at home switching between wireless and cable. The verdict pains me terribly. Over the G30, there is a distinct loss of warmth and softness, loss of the lush airy tone that makes upright bounce. And there is a distinct boost to the hated upright honk, which is most noticeable when you play anything approaching percussive slap, like what I do. It is minimal, but apparent. There's still a bloody good tone, it just isn't 100% as good as through cable. For years I've claimed the diference was imperceptible. But I was wrong. Now what do I do??? I want to run around on stage. I also want two transmitters so I can swap between upright and electric in a flash.

I remember now ... forgot you had that. Mmmm.

Dribble. Still regret selling my S9, it was immaculate. Later than yours though ... 65 maybe. I held onto a '38 M2 instead because it has more stories to tell. But S9s do have a certain bling to them. And I couldnt justify having 2 Kays AND a Mortone ;o))) (not to my bank anyway...) More pics please!