EliasMooseblaster

Just a quick bump as it's now less than 24 hours away!

[quote name='Happy Jack' timestamp='1464872107' post='3063333'] $7k's worth of fun? I don't think so ... [/quote] I am trying to imagine what fun I could have with $7,000, but coming to the slightly tragic conclusion that I'd probably run out of ideas after the first thousand or so...

All she wanted to do was have some fun...

[quote name='Jus Lukin' timestamp='1464801568' post='3062733'] Good point, I wonder whether the slab bodies were used for the Tele basses, whereas left over contoured bodies were re-purposed as standard P-basses. Not that it moves the thread on much, but here is a snap of mine. Neither being the 'real deal', interestingly both have contours. I think of the SCPB as more of a nod to the mid-50's version anyway. Regardless, who doesn't like pics of basses?! [attachment=220475:IMG_20160601_1759481.jpg] [/quote] I'm intrigued by the wiring on the left-hand one - presumably the knobs are Vol / PU select or blend / Tone? Gorgeous specimens, both!

Arguably the other factor is how important a given member is to the original lineup. We're playing a festival this summer at which the headliners are Dr Feelgood. Trouble is, this will be Dr Feelgood without Lee Brilleaux or Wilko - with no disrespect to Sparko and John Martin, would it still really feel like "Dr Feelgood" without its distinctive frontman and guitarist? (It's a moot point in any case, as I gather none of the current members were in the original lineup!) My own personal favourites (The Who) are a particularly good case study in which changing any one band member completely changes the sound and dynamic of the band - the two studio albums following Moon's demise demonstrated this amply, and even after the Ox sadly left us, it's clear their live sound is not the same (despite Pino's sterling efforts). On the other hand, "Hawkwind" is now just Dave Brock plus some younger guys. Some people don't feel like it's really Hawkwind any more; some other people insist that Dave Brock [i]is [/i]Hawkwind. Anyone else noticed how Malcolm Young's once bemoaned departure from AC/DC has been completely overshadowed by the replacement of Brian Johnson with Axl Rose? In short...I think it's a case-by-case thing!

I'm asking for a friend, so I apologise if the question is a little vague. As I gather, she's looking for a keyboard that will be suitable for use with singing lessons, but also light and sturdy enough to schlep to the odd gig. She asked me what I thought of a couple of Yamahas: PSR E353: http://www.very.co.uk/yamaha-psre353-portable-keyboard/1600078859.prd and NP12: http://www.very.co.uk/yamaha-np12-piaggero-home-keyboard-black/1600078854.prd Both of them looked pretty good for the price, as far as I could see. The PSR E353 looks like great fun to tinker with, but after hearing a demo of what I assumed was the NP12's basic piano sound, I reckoned the latter, with a simpler interface, was the better bet. Anyone got any experience with either model or similar? Anybody care to back up or refute my ill-informed first opinions? More importantly, anybody know if there's an all-round better keyboard my friend could have for the same price? (And yes, I do realise I'm asking a forum of bassists, but I can't be 'arrised creating an account on KeyboardWaffle.co.uk) Ta in advance, EMB

Howdy, Cherry White are heading to West London to raise merry hell in Shepherds Bush: come and get your fix of dark, blues-tempered rock at Bar FM, with support from international melodic alt-pop four-piece Alex and the Tourists. Admission £5; no advance tickets or anything, just turn up on the night! Stage Times: 9pm - 9:45 Cherry White 8pm - 8:45 Alex and the Tourists [attachment=219850:BarFMPoster1.jpg]

Do excuse me if I've asked this before, but has anybody tried converting one of these to a baritone guitar? Only, doing a bit of spec comparison with Squier's VM Baritone Jazzmaster (which also seems to be quite well-regarded), it seems they have the scale length, but the Bass VI has more tonal variety, is slightly cheaper, and the trem would probably be of more use on a baritone guitar than a bass. Not that I'd rule out buying one to use as a bass; I just have an intermittent but nagging curiosity about baritone guitars.

Nice! Will you be taking orders? We might also seriously consider a short run of vinyl for our last EP... Edit: thank you for answering my question seconds before I could ask it!

[quote name='ubit' timestamp='1463634060' post='3052918'] Surely it depends on your socket. I have a couple of basses with a Strat type socket where angled just wouldn't do... [/quote] I thought this originally, but then after further pontification, I've realised that even on the basses I own with a side-mounted socket, I will typically loop the cable up through the back of my guitar strap, so even then the angled plug reduces the strain on the joint. The exception is my 8-string, on which the socket is recessed into the body, and not all angled jacks can reach in far enough to make a reliable connection. Or, of course, on a Strat-style socket, where an angled plug would just look silly...but now I'm curious: which basses employ this Strat-style socket? I don't remember ever seeing one - now that I think about it, I don't think I've seen them on anything but a small subset of Fender guitars.

Thinking entirely hypothetically - and a little facetiously - if one had the kind of bi-amped setup in the style of later-years-Entwistle/Sheehan, like a few people have suggested above, you could run the effect out into the high-frequency amp and the dry signal out to the low. Stereo output sorted for one pedal. But given you've got several of these...well, one almost wonders whether it's worth setting up a series of switchable intersections, such that you could decide whether the dry signal from your Big Muff goes out to the Stereo Chorus, from which the wet signal goes into a Stereo Delay, from which the dry goes into a Stereo Flanger, which all ends up going to the high-frequency side - for example. Consider the different permutations of wet and dry signals into two different sides of your twin-amp rig, consider the sheer breadth of sonic possibilities, and then consider how you're going to have to learn the footwork to [i]Riverdance[/i] to be able to switch sounds mid-song...

If it's a front-mounted jack (as specified in the OP) then I've always thought the right-angled jack is a better choice mechanically as, in most situations, the cable will be under less strain at the joint where it meets the jack, thus reducing the risk of broken connections. As it happens, I do have a genuine [b]third option[/b] in my own setup. Years ago, after some confusion with a lot of black guitar cables of similar length, I ended up taking the wrong one home with me, and I now have one with two slightly kinked jacks. The sleeve is on straight (i.e., parallel with the cable), but the tips are angled a few degrees off-axis, as if they were designed specifically for the slanted output jack on a Strat. Has anyone else come across these before...or is it possible that the guy I inadvertently swapped with had bent the jacks deliberately to better fit his guitar?

[quote name='Beer of the Bass' timestamp='1463225800' post='3049706'] One thing that occurred to me is that it's harder to drive and park in cities than it would have been 40 years ago - there are more vehicles on the road and parking is heavily regulated. Also, relatively few people have lock-up type spaces to store their gear. If I could always park a van outside the venue and had a ground-floor space that all the bands gear was stored in, I wouldn't think twice about using stuff that was large and heavy if it did a better job. Keeping my gear in my flat and having to contend with city-centre parking, lighter gear makes a lot more sense for most gigs. [/quote] I think this has a lot to do with it - schlepping a 1x15 combo to gigs on the London transport network, with a bass slung over one shoulder, was a semi-regular experience from my early 20s that I'll be glad not to repeat! Also it seems increasingly commonplace for venues to try and control as much as possible through FOH. Whether this is for better or worse is a very multidimensional debate, but it does render the old-school giant-head-and-stacked-4x12s a bit redundant if it's just going to be a glorified stage monitor that the sound engineer won't let you crank any higher than '1.'

Thank you! Our guitarist is running as many signals as possible into a FocusRite mixer...can't remember exactly, but I think that's a kick mic and a few overheads around the kit. Then a mic on the singer and guitar cab, and a DI from my bass head (so post-preamp). (I've been trying to persuade him to buy some slightly "flatter" headphones for the mixing; whilst I'm impressed with what he's managed to do, I think his Apple earphones are boosting the bass frequencies slightly, which is why the kick and - at least in my opinion - the bass are a bit underpowered in the mix.)

Hollywood star covers songs by cult Australian band: Nic Cage and the Bad Acting

'morning all, Recently my band have been experimenting with trying to capture a half-decent live sound in our rehearsal space - would be very interested to get any feedback on it (especially from anybody who's done similar in the past!) http://www.youtube.com/watch?v=JpEMPltQ8IM

Pending...well, pending any old thing that might crop up, but I really would like to get along to a bash... [color=#282828][font=helvetica, arial, sans-serif]01. Hamster -[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]02. Silverfoxnik - BC Rich Eagle, Hayman 4040, Schecter Diamond P5, Ampeg V4BH amp & 115 Classic cab[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]03. TheGreek - not sure what I'm bringing yet...[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]04. Happy Jack - I'll be there with a love that will see you through[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]05. JapanAxe - probably everything in my signature. HERBIE FLOWERS - woot woot![/font][/color] [color=#282828][font=helvetica, arial, sans-serif]06. Macdaddy.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]07. obbm[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]08. Billy Apple. Spectors, Marshall valves and EAD[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]09. Nancy Johnson; Thunderbirds/Whatever amps I'm running.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]10. TrevorR - Wal MK 1 Custom, Wal Pro IIE (well, I had to...!), Ariapro2 SB700, Markbass LM2 and Traveler 2x10 and 1x15[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]11. Bluejay - cameras, video equipment; no basses, unless someone asks to see a specific model. I will also be there as BGM's reporter[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]12. NickD - Maruszczyck Elwood L5A, TE Series 6 1x15 Combo, Zoom B3.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]13. Rumblefish - Rumblefish Bass,Fender Roadworn Jazz, Acoustic 370 amp,Acoustic 1x15 cab.Copy of Herbie Flowers single. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]14. Bottle - the usual: Ibanez bass, 1x12 Cab, 1x10 Combo, Pedals[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]15. alexclaber - Barefaced things and a RIM Custom 5 and maybe an old Warwick Streamer[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]16. Ordep - Fbass, Zon, amp, pedals etc[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]17. moooper-Warwicks,Sei Flamboyant 6,Genzler Amp,Eden maybe[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]18. chimike[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]19. Sibob - '71 Precision, Maruszczyk Jake custom. If I'm gigging, my Markbass/Barefaced rig[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]20.[/font][/color][color=#282828][font=helvetica, arial, sans-serif] EliasMooseblaster - I have no idea what to bring. Maybe my 8-string.[/font][/color]

[quote name='P_bass_1983' timestamp='1461796530' post='3037804'] Brilliant thanks for all your replies guys, I think I will try one out before committing to buying one. But it does sound like I won't be able to get my usual bright tone so it may not be for me. [/quote] I wouldn't entirely rule out a bright tone - if you back off the low end on the amp it can be surprisingly articulate (it sounded great through a vintage Fender Bassman...) and I believe the bass sound on The Who's [i]Substitute [/i]is an Epi EB-3 (though the pickup design and winding has probably changed a fair bit since 1966...). It'll never provide the same particular 'bark' that a good Precision has, but it's definitely worth trying if you like the idea of something different!

[quote name='nash' timestamp='1449751997' post='2926479'] I'll probably put an EMG in any Pbass I get. I like how consistent they sound. [/quote] If you're still set on swapping out the p/up, you might find yourself pleasantly surprised by a Squier CV. I was thoroughly impressed by the feel of the '60s-style one I tried, but I thought the 2012 CS pickup in the US Fenders sounded a lot better; I just thought it would seem a shame to swap out a good pickup like that! Of course, if the EMG is a possibility rather than a certainty, I'd agree with those saying it's worth shopping around. The Laklands I've tried have been very nice, and I've only heard positive things about Lulls and Maruszczyks. But then I've also been quite taken with the recent US Fenders I've tried, and you may be as well. (Certainly my next purchase will probably be a Fender, albeit a slightly more esoteric one!)

I still own one, and love it, but as you've probably guessed from the previous replies, they're a bit of an acquired taste. Yes, the neck dive is undeniable, though personally I found my own playing technique stopped this ever being a real problem. The sound is very bass heavy, due to the enormous neck-position humbucker, and the bridge pickup is possibly a little underpowered by comparison. If you can, try one in a shop first - if you like the sound, they are nice basses to play. I'd definitely favour the long-scale EB-3 over the short-scale EB-0, mind - the longer scale length goes some way to counteracting the "boom" of the neck pickup. Edit: if you wanted to hear one in isolation through a very modestly-priced amp - https://youtu.be/KjMdpetGMLw

[quote name='roman_sub' timestamp='1461712897' post='3037129'] Yeah... someone should tell his neighbours [/quote] It'll be interesting if he's invited them all to his next gig...!

[quote name='Conan' timestamp='1461683551' post='3036722'] I don't think amps have outputs with different impedances, do they? My understanding is that the output from the amp is in Volts, and that depending on the impedance presented by the speaker cab, that voltage creates a certain amount of movement in the speaker that we perceive as sound. More voltage = more sound. The socket on the back of the amp indicates the minimum (or even recommended) impedance of any cab connected to it... I believe all of the above to be true. That doesn't mean that it is, of course! [/quote] It sounds like we're thinking along similar lines - obviously the cab itself provides the 2/4/8ohm resistance that the amp's output voltage 'sees,' but I assumed there would be some sort of resistance between the output transformer and each of the output sockets to tame the output voltage to an appropriate level for that load.

[quote name='Oopsdabassist' timestamp='1461614719' post='3036198'] nah gotta be the honka honka horn! [/quote] Not sure about the guitar, but I'd happily offer him ten bob for the horn!

This has got me wondering again: I recently bought the most delightful Bergantino 2x12 from another upstanding member of this parish, and in my haste to give it a spin, I immediately connected it to the 8ohm output on my Little Bastard - force of habit from my previous, single-driver cabs. It was only when I got it up to the studio and was about to connect it to my larger CTM-100 that I realised the sticker on the back said "4ohms." Whoops. Fortunately the LB has not since exploded, so I presume no permanent harm has been done, but I understand that the point of matching these resistances is to make sure there's enough load up against the amp output. Would I be right to conclude, therefore, that this mistake wouldn't harm my amps or cab, but running the 2ohm output into a 4ohm cab might have done?

[quote name='RhysP' timestamp='1461326880' post='3033703'] "A long time" is pretty subjective - when you're a [s]toddler[/s]20-something wannabe 10 minutes is an eternity.... [/quote] Such a vast eternity that they decided it would take too long to include links to their music in the ad, and simply suggested that we google it ourselves if we're that fussed. To be fair, they possibly have form for using guitarists as bassists - if that's their previous bassist in the picture then he's doing a pretty good visual impression of dear old Keef!