thisnameistaken

I pretty much never have GAS over bass guitars but these BBxs are gorgeous. I've had a couple of Yamahas in the past - my first not-£50-plywood-garbage* bass was an RBX550M, and I had a BB1100S fretless for a while, neither of which I thought was pretty but they were both way better basses than their prices would suggest. I am bound to end up with a BB1025x at some point in the near future but I'm tempted to save up for a 2025x instead. I never thought I would contemplate spending over a grand on a bass guitar but Yamaha have pushed all my buttons with these things. * I've seen some joker trying to hawk these as Japanese 'lawsuit' basses for £300+ recently.

[quote name='discreet' timestamp='1394303000' post='2390136']How come you know what a footballer's bathroom suite looks like..? [/quote] He's been round at Balotelli's on bonfire night.

If you only notice it when amplified it's more likely a standing wave you're generating due to where your cab is positioned relative to reflective surfaces (ie: walls). I'd try just repositioning your cab first, move it a metre or so further from the nearest wall, see if that lessens it. If not, try shifting it away/towards other walls, lifting it off the ground in the case of a hollow stage, etc. Phase-flipping switches are handy tools to have regardless, but I don't think it will solve this particular problem. If it was the sort of feedback problem a phase flip would fix I'd expect you to have much bigger problems than just on the one note.

I've seen a lot of sellers listing items for inflated prices seemingly for the purpose of discounting them a few days later to make them look like bargains. That could give the impression that people are struggling to sell stuff when actually their stuff was just over-valued in the first place.

As someone else has already said, the quality of 'cheap' instruments is so much better than it was, say, 20 years ago, that even if you can't afford an expensive bass it's not the end of the world. This is in stark contrast to those poor souls who play acoustic stringed instruments, they pay!

[quote name='elephantgrey' timestamp='1394540928' post='2392391']Wouldnt they need to track the signal to do that? the only way i know of to change the waveform like that is to bitcrush the signal down to 1 bit. It then becomes a square wave, maybe with a bit of a weird PWM.[/quote] I'm not sure exactly what they're doing but it's not pitch tracking. They're definitely modulating the input signal in some way, and it ends up a bit too soft and fluffy to be a convincing sawtooth.

I've never tried the Mothership but my god it's massive. And I've tried a lot of pitch-tracking bass synth pedals and they are routinely awful. The Korg G5 and Markbass Supersynth get around the tracking problems by not actually tracking your signal and instead modulating it to create a sawtooth, but they also sound bad.

I've only used George Ls, but I have literally never had one fail and I've been tossing about with them for a good five years. I should add I only use them as effects interconnects and I don't think I'd trust them as instrument cables - too much wobbling. But as effect interconnects they're brilliant. Compact, easy to cut and fit to precisely the right size, you can re-wire a board of 10-12 pedals very tidily in an hour or two, which you can't do with soldered plugs. In fact you might not be able to do it tidily at all with soldered plugs.

Depends on the effect as some have said above. Modulation effects can be a bit full-on if you don't blend them (although blending a phaser can cause complete ruination, be careful with that) but generally speaking I do like effects that completely replace my bass sound. The OC-2 is my favourite pedal.

[quote name='Noisyjon' timestamp='1393939603' post='2386017']The white looks like 'my first bass'[/quote] I agree it's a terrible combination. Norman Cook rocked it with The Housemartins but they had an amateur vibe going on anyway. [quote name='Dingus' timestamp='1394298198' post='2390049']anodised gold ... It makes the bass look like a footballer's bathroom suite.[/quote] Nail on head. I don't dislike tort on black, but I think a black P bass can only really do a rosewood fingerboard and a B/W/B pickguard. That's if you're foolish enough to buy a black bass in the first place and weren't aware that every photo of a black bass is a photo of greasy fingerprints.

While I can appreciate most of these tunes it's not looking good for the Ric that they're mostly 'of a time' is it?

[quote name='lojo' timestamp='1394486106' post='2391921']Superstition[/quote] Attempting Superstition is the mark of a terrible cover band. Don't try to learn it, and don't join any band that asks you to learn it, and if you're in a band which subsequently decides to play it you must impress upon them how awful it will sound and make them change their minds. That's pretty much the one rule of being in bands. After 'Don't sleep with the drummer'.

[quote name='3below' timestamp='1394435065' post='2391210'] If you get the opportunity, try an aluminium necked Kramer bass. I rate mine highly, clarity of notes combined with even string response. The weight can become a bit tedious [/quote] I always imagined they would be difficult to keep in tune with temperature changes, or is aluminium not so prone to that?

I'm so sold on the sound of my Ehrlund pickup/pre that I work really hard to make it work in every situation, and I reckon an IEM system will be the final piece in the puzzle. Currently I either use my own backline or a wedge for monitoring and it's just not practical - if I can hear it loud enough then so can my bass and that's when the trouble starts. It's really only monitoring that creates issues for me. I do have problems with other peoples backline sometimes though. A guitar cab too close can mean I'm resonating their sound too much, I also have had problems with our DJ recently when he starts cutting in long bass-heavy synth pads, which not only shake my bass but because of the nature of the sound they make me *think* I'm feeding back! I've had to tell him to stop doing that when I'm playing the upright.

I can appreciate this because I've had a little wobble with my Thumb bass recently. In fact if the right replacement had turned up in the last couple of weeks I might have sold it. I've had this Thumb for about ten years now (having lusting after one since about 1990) and done all sorts of gigs with it, but I'd decided I needed a 5 string and the Thumb was no good for my girly wrists and their rubbish tendons. Turns out though my wrists can cope with the Thumb just fine it was other activities (mostly work) that were much bigger problems, which I've since fixed, and I've still not heard another bass that burps and purrs like the Thumb does, so I'm quite relieved that I didn't sell it! I will still be adding a BB1025x, but not selling the Thumb. Unless I come across a '91 Thumb 5, maybe...

How odd. I was supposed to be in Delray Beach this week with work but it didn't happen. Enjoy what should be MY holiday!

Try using a dedicated DB preamp before your amp like the Fishman Platinum Pro. The pre will have some feedback-fighting features you won't see on a bass guitar head.

Imagine what a band sounds like when the guitarist doesn't turn up and you're pretty much there. :-(

I'm not going back on my previous Daisy Chainsaw recommendation but Robert Sledge from Ben Folds Five has been expertly fuzzing up his bass since the mid '90s. Here he is doing it most recently, but probably still with one or two green Sovtek Big Muffs. This guy doesn't get nearly enough credit as a bassist. He plays upright and synth bass too. And sings harmony live. He's just bossing it. http://www.youtube.com/watch?v=F7E_mIgD_6w

I only have two bass guitars because I want the roundwound sound and the flatwound sound. I've got a Thumb strung with Rotos '66 and a Jazz strung with La Bella 760FLs. I took both, and my double bass, to a band practise tonight and used all three of them. Can't imagine doing this band without all three of those sounds available to be honest. Edit: Forgot I've now got two basses strung with rounds. I put together a bitsa P to do that English post-punk P-bass roundwound sound. Another great classic bass guitar sound.