Norris

[quote name='Ou7shined' timestamp='1378203203' post='2196875'] Yep. And old ones are increasingly hard to come by now. Although there are ways around it - the L-2000 is close and can be modified in the right direction. I have a '80 L-1000 in my collection and use it as inspiration to build a bit of Wunkay into all my own personal use basses. My latest present to myself is letting everything else I gig or noodle with just gather dust. It's not even finished yet but I've gigged it twice now. [/quote] Nice cat, but he's never going to get the hang of floating thumb technique!

You can use whatever you like of mine providing you a) ask me first, don't put any glasses on top of my amp and c) pay for any damage. Apart from that I quite like to hear what my kit sounds like from the back of the room occasionally

In the eighties [i][b]the [/b][/i]amp to have was a Trace Elliott, although I never fancied one myself due to the close association with slap. In 1985 I bought a Traynor Mono Block and matching 2x15 cab - good job we had a band van back then, 'cos it weighed a ton! I used that for many years.

[url="http://www.amazon.co.uk/d-c-fix%C2%AE-Plastic-adhesive-Woodgrain-346-8219/dp/B005ELO650"]http://www.amazon.co.uk/d-c-fix%C2%AE-Plastic-adhesive-Woodgrain-346-8219/dp/B005ELO650[/url] - sorted

I've never had a problem with any of my basses needing tuning except in extremes of temperature & humidity. As long as the strings are bedded in properly when you change them they can go for weeks with out tuning. ...and by bedding in I mean grab hold of the string and give it a darn good wiggle with around 1" deflection, which evens out the tension in the machine head wrappings, string trees, nut, etc. Don't be afraid of breaking the string, as if it's gonna let go then now is the time to do it rather than at a gig.

Not leather, but none more comfortable than ... [url="http://www.comfortstrapp.com/"]http://www.comfortstrapp.com/[/url]

How is it for floating thumb technique?

Schaller strap locks are the only mod you need Having said that I fitted a vintage tone switch to my early 4003 last week - first gig tomorrow night .

Has anybody called the church to tell them one of their pews is missing?

[quote name='lowlandtrees' timestamp='1376642986' post='2177160'] ... I had always assumed that string gauge and tension were directly related. How do you know which strings are high tension and which ones lower (probably a tigga nooby question) ? [/quote] They [b]are[/b] directly related. The note pitch depends on the length of the string (scale), the mass of the string (gauge/thickness) and the tension. The length of the string is usually fixed - by scale length & fret positions. The gauge and tension are then inversely proportional - the thicker the string the tighter it has to be to achieve the same pitch; to get lower tension you need lighter/thinner strings. Edit: Many years ago (before the days of Internet forums) I had a 4001 and adjusted the truss rods without any prior knowledge that it was [i]supposed[/i] to be a difficult job. I didn't have any issues and got the action nice and low to suit my strings. Just be careful & logical and make sure the neck doesn't twist i.e. that the two rods have the same tension. Make small adjustments to both rods and never use excessive force.

Like matski, my Ric sounds great whatever I do. However, I can't get a nice round funky Precision-like sound even with a severe mid cut. It sounds cleaner on a single pickup than on both, but still has that Ric 'fizz'.

Active basses 'Coffee table' basses Brown painted basses Maple fretboards Pickup covers Non-triangular plectra (plectrums?) Slap bass Stickers on basses

I don't like active basses or thick necks ... but have GAS for a Stingray

If you're mainly after looks rather than sound, check out [url="http://basschat.co.uk/topic/197657-spector-rex-20004-holoflash-thunderbird-and-upgrades/page__p__2166289__hl__holoflash__fromsearch__1#entry2166289"]Cetera's Spector[/url], 'cos that looks gorgeous

I'm nowhere near Windsor, but if you're ever in the Leicester area you are quite welcome to try mine - although the TRC has been removed .

The main riff is B-D-E (gap) A-G-E-D-B-D-E i.e. all open or 2nd fret (the guitar plays above in 5ths) The rest is just a 12-bar 6/8 arpeggio, isn't it?

Did it arrive from Korea by being towed along behind the boat?!

If you're having difficulties picking out a bass line, try pitch-shifting the track up an octave. There is free software available that will do that kind of thing, such as [url="http://audacity.sourceforge.net/"]Audacity[/url]

[quote name='njr911' timestamp='1374578779' post='2150325'] Does the mixer care if the speakers are powered or passive ? As you can see, I know nothing! [/quote] Powered PA cabs take a line level signal - in other words no need to lug a huge great heavy amplifier around (or the additional weight of a powered desk)

I'd suggest getting some powered PA cabs - Mackie thumps or SRMs are a little more expensive than Behringers, but worth checking out. Then you can use a relatively cheap mixer with as many inputs / monitor outs as you need. Edit: And if you're not making enough money to replace/upgrade equipment then you're not charging enough

I use a GT6-B into my Peavey Databass combo; the pedal provides the tone, the combo amp provides the power (in a very compact size!). Being a pub covers band we don't have a massive PA, and rarely use any monitors. I often get comments about the "great sounding amp for such a little one" - I've given up trying to explain. Yes, the amp does sound good on it's own, but with the pedal I can switch between valve emulation (SVT) and a nice clean funky tone (basically the amp's 'native' sound), and I have every effect I'd ever need just a patch copy/tweak away.

MIDI-controlled robot hands FTW!

I'd go for LED cans. Pros: Cheap, don't get hot, can change colour, don't have to change blown bulbs. Cons: Not quite as powerful as incandescent bulbs unless you buy more expensive ones, more limited colour range (gamut in techie-speak) than gels. You'll probably also want a DMX controller. They are not too expensive, but avoid the cheap ones due to compatibility issues. Check out the [url="http://www.thomann.de/gb/stairville_dmxmaster_i.htm"]Stairville DMX-Master 1[/url] on Thomann as that will control most DMX lights (including scanners - moving lights like DJs use) and is just under £100. Although most LED lights have an auto colour change mode, they will drift out of step with each other over time, plus you are stuck with the colours the manufacturer chose for the sequence. You'll want the controller to keep the lights in sync, to program specific colour changes & cross-fades, to use a blackout, etc. The controller I linked above has a useable sound to light mic but can also be connected to the desk. It doesn't have a foot controller though (I couldn't find any foot controlled box that would do a decent job). You'll appreciate the cool running of LED lights, but you'll need to use more to get the light levels up, especially when using saturated/deep colours. I light my trio with 4 of [url="http://www.thomann.de/gb/stairville_led_par_56_alu_schwarz.htm"]these PAR-56[/url] cans (£30 each on Thomann), all running off the same channel to give a single colour wash. I'm thinking of getting a moonflower as well. I wish I had seen [url="http://www.thomann.de/gb/stairville_led_par56_starter_bundle_b.htm"]this bundle[/url] when I was buying mine though - controller, 4 lights, one stand and cables for £315. You'll probably want more than 4 lights though to light your band - more like 8 depending on size of venue.