Norris

[quote name='Conan' timestamp='1366185437' post='2049240'] Good point. I think this is a major factor in why some people think that the very top-end pickups sound "better" than the "just good" ones. Maybe they are trying to justify their decision to spend more money than they needed to? [/quote] Squier/Fender anyone?

[quote name='Looper' timestamp='1360140167' post='1965299'] My first bass, a Franconia jazz copy. Being my first I had no idea how bad it was until someone gave me a Hohner p-copy which played like a real bass. Still, I wouldn't mind getting it back now, just for sentimental reasons, we had some good times together. [/quote] My Franconia Jazz was actually quite a reasonable bass, certainly streets ahead of the Kay SG plank that preceeded it.

My first ever bass was a Kay SG copy in translucent red plywood. The action could be measured in inches and every bit of chrome was pitted and flaking. I can't remember what it sounded like as it was so long ago. And ... (riot gear on) ... I really disliked the feel of an early Musicman that a friend bought and have I never touched one since.

I had one many years ago - it eventually fell to bits (can't remember if it was Neutrik or another brand). Now I just use the volume pedal on my GT-6B between sets I get no pops at all - just the occasional silence when I forget to 'floor' the pedal again after the break!

Then to complicate things, your equipment won't draw it's full rated power all of the time unless you are driving it flat out. A lot of equipment will draw a lot of power when you switch it on, then settle down to a fraction of its maximum power. However as I said, if you draw too much power you will blow a fuse (assuming the correct one is fitted). I'd still look to either overheating within the amplifier (a gig will be more hot & humid than a rehearsal - assuming the audience has turned up ), or voltage drops due to long extension cables and/or spur sockets. The thing is it doesn't seem to be affecting any of your other equipment. I don't think you've mentioned what type of amplifier your guitarist has - is it valve (which might be affected more by under-voltage situations)? If you have a multi-meter you could (CAREFULLY!) check the mains voltage at the problematic venues - try without any equipment plugged in and again with everything plugged in & powered up, and compare.

A thinner flex would be prone to overheat if you try to draw too much current through it - which is why there are different fuse ratings available to protect from risk of fire and/or electrocution. The current you draw depends on the power, but as BigRedX says the equipment power rating (i.e. my "2kW PA") will not be of any help as it also depends on the voltage. Power = Voltage x Current ...... P = V x I If you can remember your maths you can re-arrange this to show the current: I = P / V V = 240 volts in the UK, so divide the actual power rating (in Watts, as printed on the back of your equipment, probably next to the power cable/socket) by 240 to calculate the current draw (in Amps). Or to put it another way, you'll draw 1A for every 240W of mains power. e.g. a 1000W incandescent lamp would draw 1000/240 = approx 4 amps I doubt whether drawing too much power would cause issues with your guitarist's amp - the highest rating fuse that fits in a UK plug is 13A and if you draw too much current the fuse would just blow. In my pub covers band we run the PA, guitar amp, bass amp, monitors, (LED) lights and footpedals off a single socket with no problems. This makes it easy to ensure we are all through a circuit breaker and have no earth loops. I'd look more to overheating as the cause of the cutouts & maybe point a fan at the back of the amp on your next gig as an experiment. As the guitarist's two amps are identical, they probably both suffer the same design flaw

I proudly wave my Squier logo in the faces of the gear police. I have a Fender US Jazz and a Gibson Thunderbird sitting at home gathering dust...

I'm not much of a singer, but one of my numbers is Come Up And See Me (Make Me Smile) - it just takes practise & having nailed the bass part so you can concentrate on the vocals.

[quote name='KevB' timestamp='1363958003' post='2020119'] If I'd kept the Squier long term I'd certainly have upgraded the pickups.[/quote] I've heard/seen a few people say that, but my stock pups sound darned good to me and the audience, including lots of musos. The P has a lovely tone, the J not so much so but doesn't get used most of time anyway. I originally bought the bass as a donor for a self-build project, but haven't got the heart to start hacking it about having played quite it a bit and got so much pleasure from it

Glue them all together into a 4-necked monster!

Main bass: Squier P-bass special (Indonesian), cost £150 second hand - I prefer playing it to my Fender US Jazz and Gibson Thunderbird that stay at home, and will proudly extoll its virtues to anybody who notices the name on the headstock. In fact I prefer my Mexican fretless Jazz to the US one EUB: Rocket (Stagg) EDB 3/4 - plenty good enough for my novice use Amplifier: Peavey Databass, cost about £300 second hand back in the 90's. I've GASsed for an Ampeg rig in the past but realise that my little combo does/sounds everything I need it to - especially fitting neatly into the boot of the car Home studio mixer: Behringer Xenix X1622USB. To be honest I've not used it nearly as much as I would like/should, but it sounds good to me, and certainly no issues with reliability There is some cracking budget & second hand gear out there. To hell with badge snobs I say!

[quote name='xilddx' timestamp='1363802784' post='2017942'] I suspect from reading this thread that there's not much interest in new original material anyway, certainly that seems to be the case when looking in the recording thread, and the show us your vid threads. [/quote] Somebody ought to do a poll, but my guess is around 30% of the site members don't actually play bass or gig regularly, probably 10-20% are actively making original music and the rest (majority) are in covers bands. There are covers bands and there are covers bands; there are originals bands and there are originals bands. My covers band is darned good (though I say so myself ) and I enjoy every minute of it. Just because we're playing someone else's music doesn't mean we can't be creative or put our own twist on things. It also means that we can cover a lot more genres (although 70's rock does feature quite highly) - our general rule of thumb is that we do stuff that punters have heard of, that other covers bands don't (or can't) do. ..and all compliments to everyone who has contributed to this thread. There have been a good varied mix of opinions expressed and it's been an enjoyable read.

I've always (nearly 30 years now) played in covers bands, and pretty much throughout have had a day job. The day job pays the mortgage and keeps the family clothed & fed. The band is a hobby that brings in some extra beer tokens. I don't have the time or inclination to write original stuff, although the other band members have done in the past. Also an originals band would have to travel a lot more for gigs - pretty much all of ours are within the county I live in. I couldn't do that travelling (at my age! ) and hold down a day job. However, I'll ask you a question in return - how often does your originals band play? (I know you're in several - choose your busiest). Back in the 80's/90's we were doing 3-4 gigs a week, every week. There are not so many venues to play these days (mainly due to the price of beer and the fact publicans just can't afford to pay for a band), and the guitarist is often away touring - new member of an old originals band. However we're still doing around 4 gigs a month.

I'm glad it's not just me. I could name all the notes given time, but when you're playing, singing and jigging about, it's all patterns off the root. I can read music and did lots of music grades in my youth (piano, trombone, etc.), but have never really had to read for playing bass. That's probably why I'd need to work out the notes above the 5th fret.

[quote name='Toddy' timestamp='1363568176' post='2014299'] [b]...are easier than trying to work out why fonts keep changing on this forum,,( I must be doing something wrong again methinks) [/b] [/quote] I get this often. When you click in the reply box, if you do it near the top, the click seems to 'follow through' to the toolbars that appear there and activates whichever button is under your cursor at the time.Try clicking near the bottom of the reply box

We've played a few Irish pubs in the past. We've always honoured any gig we've booked, but just haven't bothered getting repeat bookings any more. There's nearly always an atmosphere of impending violence, very late nights, not particularly decent money, and the constant feeling that the landlord is going to try to rip you off at the end of the night. Feign some sort of ilness/injury that means you can back out of this one (if that's what you want to do). You'll probably upset the landlord, but without completely burning your bridges. Then have a serious band chat as to whether you really want to play there any more.

I've owned a genuine one in the past. I would have liked to own one again. I doubt I will now though.

I wouldn't think that wood would be much of a barrier to your signal. If it is, you might be able to mount some external aerials on the top of your board - which shouldn't take up too much space, then plug them into the receiver hidden below. It depends if your existing aerials are fixed or use ('F'?) connectors. I'd also check that there is adequate ventilation for your receiver - does it get warm in use? Edit: My guitarist uses a home-made 2-tier board, mainly for accessibility to the multitude of pedals. The board has a load of small holes in the bottom so he can cable-tie the current pedals of choice in place. The rear (top) tier is open (basically a plank across the top, no back & front = plenty of ventilation), and has his PSU tucked underneath.

[quote name='BassTractor' timestamp='1362673702' post='2003208'] The tediousness of putting dots on sheets comes a very close second. [/quote] [url="http://musescore.org/"]http://musescore.org/[/url]

One thing you may want to look at... Making my payment, when I clicked on the Paypal link I got the following browser security warning (yep, IE8) [quote] [b]Do you want to view only the webpage content that was delivered securely?[/b] This webpage contains content that will not be delivered using a secure HTTPS connection, which could compromise the security of the entire webpage. [/quote] I think it may be due to the basschat logo image ([url="http://img.photobucket.com/albums/v164/pedullaman/logo190.jpg"]http://img.photobucket.com/albums/v164/pedullaman/logo190.jpg[/url]) If you then click the [b]No[/b] button, the payment amount then changes to[b] zero[/b]. Clicking the Yes button preserves the £20 fee. (Although having tried it again since making a payment, the £20 doesn't disappear now, but the Yes/No button does affect whether the logo is displayed)

Packing up afterwards

Physical CD from Amazon, rip to mp3 in iTunes

I'm re-reading this thread. Having just forked out a wad on my brand new EUB, a nice little guitar amp has cropped up that's ideal for home studio use... Hmm .. Ghost Bass price shaving time

I 'lost my religion' a long time ago - I hate that song with a passion. The guitarist knows I don't like it. On the odd occasion he decides to do it regardless, I'll still play along for the sake of the 'show', but he knows he's going to get a mouthful as soon as we're out of earshot of the punters Edit: I convinced him to do Fire as an alternative REM number, which is so much better. Still working on What's the Frequency Kenneth - their best track imho.

Don't limit yourselves to doing stuff by trios! Heck, we occasionally do "25 or 6 to 4" by Chicago - and we certainly haven't got a brass section and several thousand percussionists Sounds darn good though