uk_lefty

I did this with my MIM Jazz and it looks fantastic. But.... For me playing a jazz bass is all about using the pickup as a thumb anchor and playing over the pickups for different sounds. The neck pickup cover is a good arm rest for slapping but I rarely do that. I found the bridge pickup cover awkward because it took away one of the main places I liked to play on a jazz. Just try it with tape, see how it affects you and how much you need to adjust if any.

Instead of a backdrop our drummer has rigged up a monitor in his bass drum that plays through hours of clips of the band, the band logo with different backgrounds, etc. It gets lots of attention.

Thank you, fully understand your point and for some scenarios I completely agree.

Excellent tips, thank you. I'll run it all through my mixer tomorrow. This is all quite new to me in the sense that I used to use multi fx and have things under control. I've now got more individual pedals (better sound, more time practicing less time programming) and this I think is where my volume issues are coming from. I've bought some tiny sticker "gems" from a craft shop, seeing my daughter use them in her artworks, and will use these to colour code where I want my settings on the more sensitive pedals.

Is there a rule of thumb or magic formula for keeping volumes under control? I've got various effects that I need to use to add texture and make up for one guitar dropping out that all come with their own volume boost. It confused the sound man no end at my last gig, even though I had told him, so I ended up having to use the boost for the whole set after he lowered my volume so much it was the only way to be heard. My guitarist says he's been told 3db of boost is enough, and he has a pedal that tells him where 3db is. Is there a similar magic formula for bass? What would be the best way to set that across pedals? Is it a case of get it right through my rig at low volumes at home then it's all ok? Or is it something that can only really be done through the gig rig and PA at full volume? Thanks!

Next week.... Thoroughly chat with soundman! It's a short set so I might even print out the set list and let him know what bass FX will be used, or is that going too far and being all "ME ME ME!!!"?

So.... Got to the venue, soundman tells me they've got 18" subs and I can see there's good quality monitoring so all good. Went ampless, DI pedal to PA. Slight tweak to boost bass on the EQ otherwise everything middle on the pedal. I told the soundman I had a boost pedal and we tested the levels. Problem is on the second song he heard the boost pedal and lowered my overall output so I had to be on boost for the rest of the set with nowhere else to go!

I've got a festival gig tonight. Full PA but zero backline and playing early. Going to try and go straight from my MXR M80..... He who dares, etc.

I find when there's a lull in band activity I am thinking about my gear and buying/ selling stuff to make improvements to what I can offer. I've recently splurged on five Marshall guitar effects pedals, three are on my bass board, one came as part of a package deal and the other my guitarist has. If I was busy gigging I wouldn't have had the time to think about this. I also think the forums are full of people saying "this is a game changer" and there's either words to describe the gear or maybe a sound clip, but it's too easy to chase that quick fix that worked for someone else. Rather, consider if it works with your existing kit, playing style, etc... My band recently reminded me of my audition less than 2yrs ago when my modest pedal board was an HX Stomp and outboard tuner and wah. "I'm not really a pedals guy" I said. I've gone through tons of pedals since then, always trying to find something that gives the band a sound off a popular song, or to create something that crosses over from bass onto keyboard territory. Today, I'm almost happy with my rig. Tomorrow, the search continues!

I'm associated with being the guy awkwardly stood there while the singer gets adulation and complements. My favourite is "are you in the band?" Said in a surprised tone. The only thing consistent about my rig is the Ashdown stack. I rotate my basses regularly so apart from my Stingray which gets the most action I don't think there ever would be an association. Would be nice if there was a little recognition though...

Noooooooooooooooooooooooo I'm after a P bass. That's a steal. It's hard enough keeping up with eBay, Reverb, Gumtree and the BC Marketplace, I keep forgetting about these real-world auctions.

Yup.... Sorry it took so long!

I think I've found a solution.... For my interpretation of "clean" at least. https://www.basschat.co.uk/topic/480809-nad-swr-working-pro-10/

Picked this up off the marketplace. I've always favoured the SWR settings on any modelling amps I've used/ do use, for the clarity and highs. Now having a maple necked jazz again that tight, glassy, clean sound is perfect. The natural sound of the amp is compressed without being squashy and has glassy highs without them being brittle or shrill. It's fantastic! Also, some time ago I put up a thread here asking if there was a practice amp/ wedge monitor solution I could use on stage. As well as being a great little practice amp there is a line input to use this as a monitor too. For gigs like I had this weekend where there is limited space this could be an ideal solution. Use this as a stage monitor for FOH mix and DI out of this into the PA and subs. I'm yet to run pedals through it or my darker sounding basses, the jazz was just too much fun!

I would love to do this, drummer would be up for it. John Taylor used to do this with the drummer from Duran Duran and work on fills, sounds v sensible to me to make things tight and work on ideas.

Don't know about settings etc but saw a guy using one at the back end of last year and it sounded awesome! A really rich sound, and it's an Ibanez so you already know it's an excellent bass.

Usually something simple so we can wander around (we have wireless systems on all guitars) to see the levels. Our drum kit is electronic so we can have a beat recorded and looped. I'll usually test any pedals that can cause a volume spike too to make sure it's a boost not a nuke, or worse, a complete drop off. If we're in a venue with PA provided I'll play something with fingers for my sound 80% of the time, then hit it heavy for a bit to check how it reacts to slap, pop, pick, and again test pedals.

If you really like the Kiloton and you can afford it I say go for it. Yes, there are loads of basses well suited to different musical styles, some are more versatile than others... But, if you have fallen for the Kiloton, and who can blame you?, get it otherwise it will always be at the back of your head as a "what if?". Buy a bass that inspires you to pick it up and play it. Other great basses are around, someone mentioned the Sire V7 and V9 series which are superb instruments, but they don't have a single, fat humbucker in the sweet spot like the Kiloton does and they won't punch and thump like one. They'll do other stuff better but.... So what?

That's awesome. Have you stuck it on clear acrylic? Could I see the back pls for the wires, lights and power?

Yes but not at that price. That looks repairable.

Audience 80% me 5% band 10% other 5% It's all about the audience. If the band is absolutely on fire but there's nobody there... Let's say you are headlining an event but the week before the organiser bumps you to FIRST on and that means 6:30pm on a Friday... Then I'm glad we got a paid rehearsal but I'm not buzzing all the way home. If me and/ or the band make a load of mistakes but the audience reaction is so good nobody notices or cares then that really, really does outweigh it. I love it when we get a good audience reaction and the band is really on it. Last gig I had a huge grin in a song we play well but the drummer just decided to go really heavy on the cymbals. I didn't see it coming, he just decided then and there and it worked and lifted everything, including the audience. That is 90% of the enjoyment, if not more, for me.

I wasn't joking! 😝 Seriously, my Ernie Ball strings come in a foil pack and then a paper envelope per string. That paper is redundant.

Looks like a Bargain to me... No affiliation to the seller etc.... Left handed Status Graphite S2 6 string https://reverb.com/item/70527376?utm_source=android-app&utm_medium=android-share&utm_campaign=listing&utm_content=70527376