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I've got flats on my SR1000e. Never looked back!

A keyboard? There's quite a few different fx you can use to get the bass to sound like a synth. For those songs, you might want to have a look at a synth pedal like the Markbass one or (if you have spare dosh) the Akai Deep Impact & couple them with a filter. Good luck & have fun.

Kudos for all the detail she's replicated! Now a fretless.

I think if it's a good bass that's had a good defret, then it would be much better than a crappy fretless. Good Q, but I think if it's done well, then it would be the same as the fretless version.

[quote name='alexclaber' timestamp='1372277053' post='2123805'] It's nice that people are taking notice of sensitivity specs but, to be honest, most of them are even further removed from reality than power handling specs are! [/quote] Unfortunately most manufacturers seem to offer watts, ohms & sensitivity in their spec list.

[quote name='Patchbass' timestamp='1372257858' post='2123494'] Sorry do you mean it would get hot (on an assumption) (i'm not very good at specs etc and understanding sensitivity) [/quote] Going on the specs that Ashdown provide, the CL can handle a lot of watts (the voicecoils can take a lot of heat) but it doesn't do much with it when it comes to decibels. Sensitivity = decibels. Decibels = how loud you hear something. The only way to find out is to try one (preferably in a band situation).

[quote name='BigRedX' timestamp='1372251043' post='2123358'] Unfortunately IME there are an awful lot of musicians who will never amount to any more than regurgitators of other peoples ideas. I would ask yourself why you are looking for major song writing input from the other members of the band? If it's because you need their compositional skills in order to complete the songs then I think you've probably got the wrong people playing with you. If it's simply because you feel that everyone should have a creative input, then stop worrying. Some musicians just need to be told what to play. They will put their own mark on what they play (eventually) but will probably have to have at least 75% of the parts already worked out for them. If you can do this yourself then go ahead and do it. With a bit of luck once they start to feel more comfortable with the genre and the band dynamic they will become less reliant on being told what to play and start coming up with usable ideas of their own. [/quote] I think you've either slightly misread or I've not written correctly. I'm very happy writing everything. When I started the band, I expected that I would be the main songwriter & any input from the others would be a bonus. But it seems that the guitarists want to write their own parts (which I'm happy with them doing, so long as it's not drivel/a noodle). I suggested that we get the basics of a song started, recorded a 2 min bassline for them to pop in their DAW (along with a simple drum pattern) for them to get ideas from & chop up/change about to suit. The only 2 who's downloaded & played about with it are the drummer & keys/dj. Guitarists said "yes, it's good. But I can only play as a group" & haven't done anything else. My actual post though isn't so much about that, but how folk write as a group rather than have a dedicated writing team (or individual). If any bands actually write that way & do we use the rehearsal time to structure the song & work on just the one song for 2 hours? If they turn out to not be creative, then I'll happily write the entire songs at home & say "here's your part" to each musician (not in an offensive way, they're all decent, friendly chaps that I get on well with).

I thought I'd find out how you guys go about writing as a band. In my previous bands, it's been me & one other person that writes the actual songs (or sometimes just one of us). The chord/riff structure, the melody & the lyrics etc. E.G. One of us comes up with an idea & shares it with the others. Me & the singer would jot the basics down & then we would email one another the ideas & write things. Then we'd take pop charts for the rest of the band & they would come up with their own parts, changing things to suit. Simples. My new band, I've introduced a couple of songs that I've written everything for except the lyrics, shared it via a group facebook pm & they've said that they liked it, but seem reluctant to play it at rehearsal & just wanna jam covers. Now I know it's easy to write rock songs where it's a handful of chords & a strum along, but we're (supposed to be) a funk/acid jazz/groove band & the guitarists (there's 2 of em) seem to be struggling to get outta the "strum the basic chords" mentality. OK, the stuff is out of their comfort zone, but they wanted to do something out of their comfort zone. So I want to get them involved in the writing, but don't know fully how to go about getting things started when it comes to group writing. I tried sending a bassline via soundcloud & gave em the chords, hoping that they'd download it & write. They said that they liked the bassline, but can only play as part of a group. Ideas?

[quote name='Lozz196' timestamp='1372245361' post='2123250'] That`s a big difference in sensitivity. [/quote] It is indeed. Going by that, one could assume that the CL would make a rather good radiator (handy for those chilly winter rehearsals).

Ignore the wattage. It has little baring on how loud a cab is, just how hot the driver coils can go. I've never tried the CL. Tried the ABM & whilst it sounded good, I prefer Markbass (they're clearer sounding, but some folk don't like that).

My wife did this for a while. Until some idiot at MBNA messed things up & caused a load of hassle. Ended up with them popping on a silly amount of interest onto the monthly payments & we spent 6 months sorting it out. They ended up worse off & not getting all their money back & the Mrs won't have a credit card again. Not a good idea.

How do you know the CL-410 is louder? The sensitivity is lower according to the specs (though ears are the best answer)... CL-410 SPL 94dB 1W@1m ABM-410H SPL 103dB 1W @ 1m As for sound. Again, you're best to use your ears & see what you prefer. One man's awesome is another's awful.

I used a vst to add a marimba playing the guitar melody for the first couple of bars & a sample of a siren at the end (instead of the guitar playing the siren). They was never stems, just done in Reaper. The singer/guitarist also plays banjo, but never in Frigorifico (thankfully).

Gonna have a listen to these over the next couple of days & vote. I started a track, but never got time to finish it. Next month I'll be back. There's as many folk written songs for this as has entered the photo comp. now that's impressive! Good luck all.

If anyone says your pedals Should go in any certain order, don't listen to them. Play about, it's 1/2 the fun of having a board. I like my filter after my dirt, some folk prefer it before. Neither of us are wrong. Shep's bass blog on effects is a good read. http://www.sheponbass.co.uk/effects/

Wear whatever you feel comfortable in & if that's a bomber jacket, a pair of wellies & a G string, then so be it.

[quote name='RhysP' timestamp='1371940247' post='2119984'] I didn't know you could get Hi-Viz fetishwear. [/quote] Pimpmygimp.com

It depends what you're wanting to play. Sometimes I listen to Jazz or Funk, other times to house, drum n' bass & dubstep for ideas. I'd say listen to everything you can, including the stuff that doesn't have a bassline.

That's what I'm thinking. Sounds like a shop soiled bass & they've wanted rid of it, so advertised the bass at the cheaper price without saying it's actual condition. I wouldn't accept anything other than a replacement.

Fit for Purpose. If you buy a practice combo & go gigging with it & it breaks, it wasn't made for that purpose so don't expect to get a replacement. If you buy a rig designed for a life on the road gigging, that is what it's intended purpose was & must be fit to do so.

I'm another one who benefits from a little hearing loss. I even have a pair of hearing aids that rarely get worn. We used what was supposed to be decent gear for recording & I think the singer paid the soundy £80 out of the band funds for his day's "work", but that was before we got given the recordings. There's a couple of good studios up here if my new band ever gets to that stage.

Bolt ya cheeky sods! It was clay. Was actually on an Alesis HD Recorder (as was the guitars & drums).

How long have you had the SR1205? If it's less than 6 months then I would have been demanding a replacement from the off. I wouldn't pay full price for a faulty repaired bass fosho!

I'm using a Boss CE2 chorus set like that. Depth on full & the speed set slow, though sometimes I whap the speed up too for a bit of DnB goodness.

I don't know how much they are in the UK, but I think buying a new one from Iron Ether would be @ £150 including postage. You could buy a chorus pedal &/or an EHX Octave Multiplexer to do something similar, but when you take in the cost of what you could spend on 2 pedals to do the job of one, it justifies the price of the Polytope.