martthebass

Cheers McN, I will do at some point.

You 2 - GET A ROOM!!! One, thing though McN, which way is the pup wired in the EBMM Sterling SUB USA? Mines got the 3 band EQ but seems to have more depth and punch than previous EBMM full fat Rays I've previously owned.

I think if you've set your heart on a 'proper' US of A Ray then nothing else will satisfy you. The Sterling Ball basses are good value for money and tick most of the boxes but if you have the cash then I'd go a used US model. I've got a US EBMM and a US SUB, both good basses and will last a lifetime of playing should you not suffer serious bouts of GAS. The US SUB models are good value for money if you can get past the aesthetics.

Very nice D, can't beat the Ray/Status combo

A solid 2.something here. I think I've got my bass playing to the level required for the bands I play in, sure I could always improve various aspects of my playing but now I concentrate more on the performance, particularly backing vox and visuals.

Plus 1 on Treb's suggestion. I find the use of 2 8ohm 1x12 cabs on my LM3 to offer a good practical solution. 1 cab for rehearsals 2 for gigs, the sound of 2 is much fuller and punchier - I don't put this down to the power output difference, more the amount of air being shifted.

I'm usually ok with BV but find that some basslines interfere with the process for some inexplicable reason. For example no problem with BV on Come up and see me (Make me smile) but losing it on something simple like I love rock and roll. Go figure....

I once 'failed' the audition because I turned up with a Status Streamline. Mind it was a Mod tribute......

Dyerseve - there's a difference between inappropriate comments and trolling or making thinly guarded accusations.

I like a low set up. I think here in damp south Yorkshire it seems to depend more on the bass than anything. My MM sub USA seem to like a 1/4 turn every few months but quickly stabilises but the MM Ray Fretless needs adjustment only once every couple of years. I haven't adjusted the neck on my Status in 7 years........

I use two of the NY121s with an LM3 which I guess must be pretty similar to the 4 ohm NY122 set up? I get a cracking sound out of this set up with more than enough headroom to compete against loud drummer/guitar. I thought about going the 122 route but decided the separates gave me a bit more flexibility, that said I rarely use a single cab except at the odd rehearsal

[quote name='blue' timestamp='1487008602' post='3236226'] It happens to most of us, all gigs are not great. It's a part of the business. You play your best regardless , get paid and go home. All it takes is one "hot gig" and you'll feel great again Blue [/quote] I know you're right Blue but on this occasion it was unfortunate that I'd played the same venue the week before as a dep (albeit in full stage wear so I wasn't recognised second time around) and had a blast. Think it's given me the impetus to do something about it.

After a couple of months depping in another band I was back with the 80s band for a local gig this weekend. A place we had played a number of times before with good crowd participation, this time however there must have been something in the beer because I can't remember the last time I played to such an unresponsive bunch......tumbleweed at the end of most songs even in the second set. Nights like these make me wonder why I bother :/

I changed over to a lightweight solution a few years back after a loooong time on heavy weight Trace Elliot stuff. I tried the 2x10 route with a LM2 but didn't get on with the sound - couldn't get the depth on stage that I was looking for. I was happy with the amp so moved the cab on for a MB151HR, this was better in the depth department but was weightier (and bulkier) than I was looking for so went to a Gen1 Barefaced Compact. This cured the depth issue but found that the cab was sensitive to the bass I was using, it could get a bit boomy with an active in some venues. Eventually I swapped the LM2 out for the LM3 and got 2 NY121 cabs. This set up has stood for the last 3 years, lovely and flexible and easy to get a good sound out of. For small acoustic type gigs a single cab works well, for bigger gigs both cabs; there really is a massive difference in sound between using one and two cabs, the sound really does open up.

Signed

As others have said, it tends to depend on the band I'm playing in but in terms of frequency it currently looks like this: 1. Musicman SUB USA Sterling. Indestructable finish means it can withstand the stage 'costumes' for the Glam Rock band 2. Status Streamline. A much easier bass to get to sit in the mix than the MM but doesn't look right in a 70's context. Gets used in the 80s covers band fairly exclusively 3. Rick 4003. Gets to go out an play occasionally but only at the better venues and when I know I've got more time to set my sound up 4. Musicman Ray Fretless. Occasionally taken out when we have the apporpriate numbers in the set.

[quote name='stingrayPete1977' timestamp='1485805664' post='3226878'] If only they could just keep them from bleeding into the white binding [/quote] Or falling off the woodwork (allegedly).

Even R*********R have more colours.

For me it was Mick Karn, just really looked (and sounded) the part...

Very nice!