thisnameistaken

[quote name='TPJ' post='1239558' date='May 21 2011, 06:18 PM']+1 All you need is a spare corner and you're sorted [/quote] They are addictive though. I could justify three double basses at least and I don't have a single full-time gig on DB yet.

Bought his VP Jr, no problems at all, but I was disappointed to find out he's not actually called Finbar.

I'm not bothered about another half hour soldering or a few quid if it does the job properly though.

[quote name='Skol303' post='1238734' date='May 20 2011, 09:10 PM']Mrs Skol has green-lighted the idea, so I guess it's only a matter of time before we do indeed "throw out a wardrobe" (cheers Bilbo, that made me laugh).[/quote] My mrs loves having a DB in the house, it's a nice bit of furniture until some clown starts trying to play it...

[quote name='mart' post='1237725' date='May 20 2011, 08:43 AM']Are you planning to use a 3-tag blend pot or a 6-tag pot?[/quote] Whatever works I guess?

[quote name='Truckstop' post='1239078' date='May 21 2011, 10:36 AM']Fenders are the wick. They look great, sound like you want them to and can be used for pretty much every single musical application you can think of. Funk, Jazz, Reggae, Metal, Rock etc etc.[/quote] Fishbone's music features all of those elements.

Fender quality is a real minefield though. The worst bass I ever bought was a USA Fender. Well, it wasn't bought so much as stolen, but it was new when I got it, and in 12 months of touring it was a total disaster area. I've never had a duff Warwick and I'm on my fourth.

It's massive, that's the first thing that puts me off. My M9 does great whammy-style pitch shifting but with more versatility in selecting the intervals, and it does a good job of harmonising too, plus of course all the delays and verbs and dirt and filter and modulation effects - I don't get why I would want a Whammy any more.

FWIW I've got a Fender and a Warwick, and the Fender is a nice, characterless bass that suits most stuff and the Warwick is a beautifully idiosyncratic instrument that only sounds like itself and every note is a joy to behold. Especially as you work your way from the lower register into the next octave and the sound gurgles into something genuinely interesting. I'm not knocking Fenders, but they sound... Y'know. I will always prefer the Warwick, and I've found that engineers in recording studios always ask me to track the Warwick. I think its focus makes it easier for them to mix, and especially if you're playing something interesting in the bass part it makes it easier for them to make a feature of it without having to push the bass right to the front of the mix where it would get conspicuous. Same goes for live - I get heard without having to be loud.

It doesn't look like you *need* any more basses, so just get whatever you want.

Well I was planning to replace the two volume pots with a volume w. push/pull 2PDT switch and a blend pot, so the only original pot left will be the tone pot (and I think I'm putting a .1uF cap on that). Thanks for the log/lin info that was really starting to bother me.

[quote name='xgsjx' post='1237523' date='May 19 2011, 10:35 PM']is a £2k+ "copy" P bass from the likes of Overwater or Sadowsky any better than a Fender P & actually worth the difference?[/quote] I really don't get why there's such a massive market for 'luxury' Fender copies, but there are loads of manufacturers filling that market with instruments. Why not just make something new and better if you're such a good ****ing instrument builder? [quote name='xgsjx' post='1237523' date='May 19 2011, 10:35 PM']& why do I need another bass when I'm happy with my Ibby (other than wanting 5 strings & no frets)?[/quote] Yeah there's 5 strings, fretlesses, even if you only have two of the same bass you can justify it by stringing one of them with flats, it's easy to find an excuse to have a couple of extra basses. My missus knows the Thumb bass is the one I always wanted so it's the one I'll never sell, fortunately it's her favourite too, I bought a Jazz bass last week and she suggested that I could sell my other Jazz now, but I think I am going to use the flatwounds / roundwounds gambit - I'll let you know how I get on.

[quote name='bungle' post='1235503' date='May 18 2011, 12:02 PM']And what exactly is wrong with Leeds?![/quote] What's right with Leeds? I grew up in Wakefield and I live in York now, I expect I know Leeds as well as anybody.

[quote name='BigRedX' post='1236844' date='May 19 2011, 12:34 PM']One of us, one of us... ;-) Which ones were you looking at?[/quote] The Moog is the one I always look for, but I think I would like to build one from a kit. I think it's the sort of thing you should have to build yourself, like a light sabre.

[quote name='GaryTheBassMan' post='1236710' date='May 19 2011, 10:21 AM']generally cool pedals that don't over dominate my tone (I was thinking maybe delay or reverb? Im not sure)[/quote] All the cool pedals dominate ur tonez. Reverb is probably a bad idea, delays are nice in small doses but tricky to pull off live and you need tap tempo really to get them working well on bass. Filters and phasers sound funky/gutsy, choruses and flangers sound shimmery/lush/cheesy/'80s, fuzz will dominate ur tonez but often works so well it doesn't matter (if your guitarists aren't using a lot of distortion it's easier for the bass to use it without getting swamped in the mix), octavers are a neat-sounding effect but don't rely on them to 'thicken up' anything. Naturally your sound will become denser but it's more about the nature of the sound than the broadness of the bandwidth, it may or may not work in your band. Eh... Experiment.

I looked up theremins on eBay last night - I am a lost cause.