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So how much are you selling it for then

That's my prob with the Bassclef YTS. Mouse isn't fast enough Here's a thought, why when they're talking about rhythm do they always use A on the treble clef?

First Bass Owned: Vox Standard 'Go To' Bass: Ibanez SR-1000 'Your' Bass: Ibanez SR-1000 I think those answers are in my sig

Reading music isn't anywhere near as hard as what most folk seem to think. A good teacher, like Doddy says, will help. Try getting a manuscript, music book (such as any band score book or bass score for any album) or a bass mag with score in it as these usually give you a section dedicated to what the notes on the scale are & what the time length of written notes & rests are along with other details on how to read. these come in handy for the time before you get a teacher organised & also a handy quick reference to reading. Heres a handy link called [url="http://readsheetmusic.info/readingmusic.shtml"]Read Sheet Music.[/url]

+1 to checking where the filters are set to. The VPF in particular scoops out mids so you might want to set this in the 8 o'clock position (turn it anticlockwise as far as you can without snapping the thing!). And like everyone else says, if your band is playing in your space then you'll find it hard to cut thru.

Rather than going for a 4x10, I'd look to trying out some 2x10s, 2x12s or 1x15s. More flexibility & 2 cabs stacked vertically will give you a better monitor & better dispersion. You should get a decent s/h rig for less than £1k.

I started on a few other instruments before getting a bass. When I was about 12 or 13 me & my best friend talked about starting a band & I was already playing keys & not long gotten a guitar that I only played basslines on so I decided to take up bass & he took up guitar. We've never played in a band together yet!

BigRoom is an acoustic band (as such) & I use my Ibby plugged into all my fx (& actually use em) & then into my 2x10 combo. The venues we do have a decent sized stage, giving us all room to play. The others in the band are vocal/guitar/banjo, mandolin/ukulele/whistles/percussion & a drummer/percussion/keys. I fancy getting a fretless but that's just so I can make weirder bass sounds. I would try to avoid the typical 80s sound.

And Aye, JOIN A BAND!

A lot of good suggestions & advice. My idea for you would be to play something on your piano & take that melody & play it on your bass. If you don't want it the same, then harmonise with it. A lot of my basslines are either something I came up with on a different instrument or are me just harmonising with another instrument (or playing the same thing). Whenever I'm not doing this, I'm playing boring old root notes etc.

A filter pedal (such as the moog LPF with an exp pedal) would allow you to have the full sound of the bass coming thru & then you can adjust the cutoff with the pedal to bring it to a dubby bass with no top end. Or the other thing I can think of is a PJ bass, rolling from J p/u to P p/u for the sound you want (tho this means you either have to stop playing or just play open strings whilst you change sound, unless you make an extension for an expression pedal to pan between p/us).

Cheers guys, I've had a look at the ball ends & they seem fine. It's strung with a fairly young set of TI Jazz flats. Good point about giving any screws a loosen then tighten, I'll try it. It's still there if I dampen the other strings. Never thought about adjusting the truss rod as I checked for fret buzz first & it's not that. I'll try that next. My bridge doesn't have any springs on it, there's locking screws that you tighten once all adjustments have been made. The sound does seem to come from the body area but it could be anywhere between the bridge & neck. I'll try the PU covers too incase it's them rattling from the vibration.

That's true. It was on the off that someone had something similar in the past. I've tightened everything up that a screwdriver or allen key will fit, from the strap button to the last screw in the machine heads, some things wouldn't turn at all & others moved just a ball hair & it seems to have reduced it dramatically I wish I'd just tried one thing at a time & played a string so I knew what the change was.

That would be a tricky song to play with pick & if I was to play like that the pattern would be down on the 8th & then down up on the 16ths. I'd rather play it with my fingers like in the video above.

Most manufacturers are only going to give you specs that they think will sell the product, not what it's actually gonna sound like. I can't see Carlsbro putting "has the characteristics of the last three hobnobs being shaken in the tin".

One of my (many) plans is to get an undirectional PA sub to use with my combo just for those shaking sub sounds (considering a self build BFM). Another option you could consider if it's just for you is one of those vibrating pads you stand on, tho I think that's cheating everyone else on stage out of the joys of sub.

I like my current band having me play bass or guitar, the singer plays either acoustic guitar, synth guitar or banjo & there's a 3rd member who plays either mandolin, ukulele, bohdran, tin whistle or spoons (sounds like the devil tap dancing!). We're now getting our old drummer involved & he also plays keys. Very flexable & we all work well together creating parts around one another on whatever instrument is going to suit best.

[quote name='Phil Starr' post='1121469' date='Feb 9 2011, 03:26 PM']Diameter also affects the weight of the cone which affects its resonant frequency, big cones can and do go lower. Diameter affects the area of a cone which affects efficiency and maximum volume.[/quote] Where as I can agree with some of what you're saying, I don't with the above in relation to my experience. Having listened to 15" cabs I've used in the past from Trace Elliot, Marshall & Peavey, non of these had as much bass as my 2x10 combo or the PJB rig with 5" drivers.

I used to use Cubase 5/32 & Reason (1, 2 & 2.5 successively) linked with rewire but found I mainly just used Reason & then finished things in Cubase if I could be bothered. I used to record my audio in SoundForge, chop it into chunks & then either put it into a NN19 or fire it into the REX editor thing (can't recall what it was called) & then play about with it in the Dr Rex. I'd love to get hold of a current version of Reason, but funds won't allow it just now. Maybe someday I'll dig out a couple of my Reason tracks & pop links on here.

Hey guys, bit of a puzzler for me here. I get an unusual sound from playing any string, any fret or open, from my bass itself. I haven't noticed it when I'm amplified, only unplugged. It's kinda like a very fast rattle that's almost like White noise (if that makes sense). I've tried checking for loose screws etc but all is tight. Sounds like it's coming from around the bridge area, tho I could be wrong. Any ideas?

Different sizes of drivers move different amounts of air (but you also have to take in several other factors such as excursion, cab size, etc). Moving more air means more sound Vertical arrays also give a better dispertion of sound. Edit to say, there's a topic (or several) somewhere that will give you loads of info on this.

I rememember reading somewhere a while ago that Ashdown was set up by an ex Trace Elliot engineer. [url="http://en.wikipedia.org/wiki/Ashdown_Engineering"]Found a Wiki[/url]

That looks like one of the older models. But if that is a current pic, it looks like it's been well looked after.

The MB cabs are (apparantly) pretty clear sounding cabs & it's down to your amp & bass (& any fx you have) to produce the sound that comes out of it. To me, that is a good thing. I prefer MB to Ashdown for both sound quality & weight (I tried a few different ashdown rigs before I settled for a MB combo). If I had spare funds I'd ask you to buy it for me.

I'd grab that MB cab, it's a bargain (provided there's nothing wrong with it). You could always sell it for a profit if you don't like it!