Woodinblack

Also this might have something to do with how low you are wearing the bass - the lower it is the harder to get your hand round. But as a primary ibanez player, it is probably the depth of the neck rather than the width. i mean I can't deal with wide necks but I do play 5 strings, so there is more width required there (but I dont' go above 17.5mm spacing if I can help it). Ibanez do have narrow string spacing in most of the basses, but there is a limit to how narrow it goes. I would say I have never had my hand hard against the bottom of the neck. I don't have big hands either but not sure how you can move your hand smoothly if you are doing that, maybe this is a technique thing rather than a string spacing thing. In fact now I check, I don't touch the bottom of the neck when I am playing the E (or even B).

my Maruszczyk Elwood L24 - at the moment gigs tend to rotate between this and the bongo

I assume so - I suspect they were just a copy paste with some restrictions created by the user interface. I suspect the GT1000 core has a lot of options that the ME90b lacks, which is probably kind of the point. Apart from bass amp models, I see a lot of people on the internet hoping that the GT1000 will get the bass models from the ME90b in some update at some point. Maybe there are other options if I connected it to a computer - I might do that at some point to see what is there, but I can't really imagine working with it in that way in general. There do seem to be some effects that you can change out for others, there seems to be better options for the ring modulator, which I can never imagine using

Gig without our new keyboard player, first gig in 4 or 5 without him so a good chance to see what he adds / removes from the band. Local pub thats very long and thin so quite a way from the people. I had a nightmare the last gig, the sound was all wrong, couldn't get a sound I liked on the bass, people were complaining about the singers being not loud enough etc, and hated it so I was all for not hating it this time (reminding myself I do this for my own enjoyment). There is a lot of space so setup was easy and I didn't stress anything. Plugged it in and it instantly sounded all good - I had put new strings on the bass, and polished the frets, as well as having the new ME90B, I was in love with the bass sound. The crowd wasn't large but they had a lot of feedback, with responses between songs and dancing once they got drunk enough. Some songs (billie jean etc) really missed the keyboard, and a couple of songs we didn't bother with because they were keyboard heavy, but we also brought some songs back we hadn't played for a while that were keyboard-less and it was nice to do them. It is true to say that noticably in some songs, the keys weren't tramping on the bass, or fighting with the guitar for space, I guess we just have to work out how to arrange those songs. Anyway, very enjoyable gig, and also with 4 instead of 5 on a well paying gig, more money!

it does - I didn't mind the jamman as I wouldn't expect to have that in a multieffects. Maybe I didn't give it a chance, I heard a review where it sounded good, I will give it another spin in case I missed it. oh I forgot to say, although at the gig I used it on power as it was on my pedal board, being able to run it on batteries is great too

So tonights gig, because I couldn't get the sound I wanted on the last gig and had a not great gig because of it, I thought I might as well take the ME90B with me. I also have new strings and cleaned the frets. Because obviously I only got the 90b on friday and haven't had much time with it, just a play around last night, I didn't want to go to crazy, but noticed that in preset mode, P1 is a straight(ish) sound with a bit of an amp model, P2 is an overdriven valve amp with dirt and P4 is a wah thing, so I figured I could use those basic tones to get most of what I needed. The keyboard player is MIA tonight, so back to the 4 of us. So for most straight songs I used P1, for something with a lot of dirt I used P2, and for things that were just a bit rocky, I used P2, turned preset mode off and turned of the drive section, for a mid drive level. For funky music I used 4, and found that if you engaged the pedal you got to change the frequency of the filter of the wah and that was huge fun. For Whole Lotta Love, I could go for P2, start without the drive, add the drive in the middle and turn the echo section on, adjusting the delay until it was right (that I managed to do in the song gap - I could have used tap tempo but forgot). for Who Knew, back to P1, then off preset and mod on with a chorus, and just turned the dials up, putting the time to the end it is like a CE1 chorus like I had so it sounded familiar. The only think I missed out on what 'are you going my way' when I normally have an octave, but didn't know we were playing that until it started, and I hadn't selected it (forgot I could set the pedal to octave, until half way through the song). I had a great gig, really enjoyed it, and honestly the sound in my IEMs was so great, sounded just like the bass going through a series of different amps and pedals. It didn't sound even slightly digital and at no point did I not know how to get something I wanted. Love this pedal.

I think maybe they are - seems odd like you said, I am sure they could wedge a SY-1 in there at least, just a couple of presets from it. I suppose it does have a effect send / return (which I used tonight for a sample player as our keyboardist was off) for putting other effects in

Sorry to hear about your mum.

Oh and a negative. What is with that tuner Boss? Literally all the other devices I mention above, the Zooms, helix, Dwarf, Tc clip on tuner can manage to say 'B' when your b string is in tune. Not C or F# or the number it first thought of. So yes, if you have a 5 string, you can tune the top 4, and then tune the 5th from the others, its faster.

Now I had a chance to play with it with headphones, I can't believe all the options. Yes, I have the Zoom B1-4 and B3, and a helix HX, and the LT for a while, and various other stuff, but this is so accessible. The amps sound fantastic, totally clear, without the noise of the zoom ones, and seem to have real depth. A lot of the modulation options feel like straight copies of the Boss effects (which isn't too surprising) but haven't spent a lot of time with those in the past they feel very familiar. I also actually like the detune and harmonising options as well - yes, they sound artificial, but they always do and that works quite well. In general I think the only thing that really lets it down is the synth options, as I know they can do better, I can't see using those for anything. I think where it really wins for me is that I am sure there is nothing I can do on this that I can't do on the HX FX for instance, or the zoom but on this I can do it at the same time, like for instance, editing a chorus and then while adjusting it thinking 'this might work with a bit more treble', so adjusting that at the same time, and then maybe backing off the depth and changing the gain to put a bit of grit through it. Like separate effects, but with not only the ability to store them, but also not having to spend ½ hour before a gig trying to work out which patch cable is crackling or why no sound is coming out. I think this is going to be a lot of fun. But really - no power supply? huh.

So opened it up now and played a short while. No PSU? Seems a bit poor - over £300 and no 9v power supply? I mean I have one, but it seems a bit under-generous. I assume they do that because they give you 4 AA batteries so you can use it out of the box. Does anyone know what the battery life is like? I would be quite happy to not have a 9v power supply on a stage if I can help it. Anyway, so far, seems very easy to use, not much is non obvious and very hands on, which is what I was looking for, although like anything I guess it will take a while to find what you like and dont as although it seems really easy, there are actually a lot of options in there and a lot of combinations.

Rexes hollow - I actually sing to add the pitch - I do the high bits or solo the songs that are just higher than the singer does (such as feel it still, or our current learning, you should be dancing). Or just add the harmonies. Strangely, we do 'who knew' as it was a requested song at a wedding, and we enjoyed doing it (and it went down well).

Picked one up going through Bristol today, will try it tomorrow at a gig!

I sing the choruses

10-15 years ago, 70s basses weren't even seen as sellable!

They figure your eyes won't spend any time looking at the headstock on this one!

If you sell something at a price you are happy to sell at, why does it matter if the next owner sells it higher? obviously if you can sell it higher, then that is good, but once you have sold a thing it is someone elses to do what they want with, including selling.

I was very tempted to buy a 1965 gibson ES355 from wunjo in the mid 2000s for £750, this was considerably lower than the price of a new one at the time (and although newer than now, it would still be over 40). Anything fender from the 70s/80s up until 10/15 years ago would have been a lot lower than the price of a new one. Maybe an early 60s / late 50s fender might have been more expensive, but not hugely so. This is very much a new phenomenon

Who knew is in our set, I never knew that was what it was about, who knew!

$5000, well, that is a bargain for something so.. unique.

Thats because until a decade or so back, they were just older basses and had reasonable prices. The 'vintage bass' market with its high prices is a relatively new thing.

Seems the search server was down a bit overnight - it appears to be ok now, can you now search?

Personally, although I am also not interested in tribute groups, I can live without the exact look if there is an approximation. I think it is more important to a tribute than a cover band, while I am happy to play motown with a Ibanez iceman, I don't think its right for a tribute, but maybe they are starting out, not that well off and that is what they have. However, they have to get the sound and the feel right, something I feel that a lot of bands don't bother with. It sounds like this is a band built around the singer just getting people to support them, and they didn't pay attention to the other bits because they didnt' feel it was important. It doesn't matter how easy or hard a bassline is, and I don't really see anything hard in doing joy division (which in a way makes it worse), the aim should be to nail it almost perfectly, especially the feel, unless it was a last minute stand-in.

It literally isn't, but congrats for coming in and reviving a 4 year old thread with your enlightenment

Last night a very local pub, local enough to not be able to get through a whole track on the way to it. Nice load in, I had bought a 20kg wheeled dolly from toolstation, you plonk the PA on it and wheel it in, fantastic, wonder why i never got one before. Easy setup, but then things went down. I wan't happy with the bass sound, it sounded lifeless through the PA. Everyone else was complaining at other things on sound, although luckily I can field some of those questions. but all the way through people were complaining. And it was very hot, unpleasantly so. After half time I just turned up the volume of people who I could turn the volume up of, reiterated my point to one woman complaining that the vocalist sounded unclear that yes, he was unclear and there was nothing I could do about that as that is what he sounds like, and got one with it. By then I had got peace with my bass sound, my new IEMs were rather nice, I had the backbeat which also helped a bit and although there wasn't much audience, they seemed generally happy to be there. Managed to stop a few songs earlier as there was pretty well noone there and obviously home early. But the last few songs I enjoyed, the new songs we introduced for this week worked well, and unlike last week, my voice seems to have got over the whooping cough or whatever it was. And we get paid, onward and upward!