NancyJohnson

I've never seen Pearl Jam, I've said it previously that had I been born ten years later, I suspect they would have been 'my' band. Guess I'm fortunate enough to have done quite a few of these big things from a backstage perspective (Donington/Milton Keynes/Reading), although that ship has long sailed, but it would be nice to experience something similar one more time.

Yup.

I think this was covered elsewhere. Elixir don't do a super-long (35"+) five string set, so I was forced to buy a four string set plus a low-B. The four string sets took ages, the B was a six week wait.

Has anyone attended one of these VIP things at Hyde Park? The ticket price off the link below is £300 a pop, but I just feel that as I'm (cough) getting on (cough) the ticket price includes food and unlimited drink, proper bogs, somewhere to go and dry off (because it's a) July and b) bound to be raining), plus you're in the Ten Club area (front and centre) rather than back the sardine pit. I'm also a little conflicted as to which day - The Pixies have been announced for Friday, I think Idles (meh) on Saturday. Pearl Jam VIP Tickets BST The Ultimate Bar Experience 08 July 2022 (eventtravel.com)

I'm not certain whether MSL (www.mslpro.co.uk) were offering these here in a testing-the-water capacity; they're brand distribution as opposed to selling direct to the customer. While@Leonard Smallsis correct in saying Bass Direct are carrying MarkBass strings, they're not listing the LongEvo sets, which is what this thread is about. You can buy them direct from MarkBass, a five string set is €50, but no idea how much shipping is and remember that post-Brexit you may be hit for VAT too.

I really like them. I know they've been on for six months and I'm fairly quiet musically, but they've had quite a few hours use considering I'm only playing at home. They're still fresh and bright. I love how they feel, too. They're quite coarse under the fingers; not entirely sure whether this is down to the coating or whether the winding material. None of whatever they're coated with appears to have flaked off, so they're holding up well. Definitely a decent alternative to Elixirs; I would certainly buy them again.

Right, a bit of an update here. My nephew was over at the weekend and almost as soon as he arrived asked me to break out the Hamer. He was having a noodle on it, I was in the kitchen getting a beer and I was asking myself what he'd done to the bass as it sounded shocking. It's odd, but having the P-unit on 10 and just rolling up the J to compliment sounds great when you're sitting right on top of the amp, but from another room it sounded quite odd. He said straight away, 'I think the J-pickup is wired out of phase.' Rolling both volumes up to ten things sounded very tinny. I took the control plate off and switched the wires from the J-pickup (simply the case of unplugging the pickup, flipping the connector 180degrees and plugging it back in) and boom. The connector is definitely upside down in the cavity. I honestly don't know whether the connector under the pickup is wired the wrong way around, or if there's a construction issue on the pot, but there's no tone-suck when the J-pickup is fully engaged. Very odd!

I'm sorry, but no. Just because there's a P-pickup in a P-bass sweet-spot doesn't automatically make it Precisiony. There's so many other factors that contribute to the sound; the type of magnet, the number of windings, whether it's waxed or taped, the pots, the capacitor, the internal wiring etc. Everything in the signal path contributes to what the bass will sound like. Don't get me started on strings. Same applies the the pickup on the HB. For about ten/fifteen years I was the go-to resource here for Gibson Thunderbirds; I'll admit that of the dozen or so that went through my hands in that period, there was only one that sounded different - I mean by this that it had a bit more top-end definition, although I suspect was more down to the rewire it underwent just after I imported it from Japan. All the others sounded (more or less) the same and same goes the stuff I've got now (£20 to £5.5K). You know, the whole train of though here was seeded years ago when someone from the Bass Centre appeared on one of those Saturday night ITV gameshows like You Bet!. Flanked by about twenty basses, he claimed to be able to identify any of them played at random. I do recall this may have been the first time I'd ever heard the term 'Warwick Streamer'. I don't think he got one right.

Just being objective for a moment, would anyone actually look at this bass twice if the body shape was different? The point I'm trying to make is just because something looks like something, doesn't mean it is something. With no disrespect, it might pay like a dream, but seeing the comment by @mcnachthat, 'It does sound like some flavour of a Stingray' made me chortle a bit; you need to watch the footage of the blind bass shoot-out from the SE Bass Bash a few years back, my friend. 25 basses, 30 bass players all trying to work out what bass @cetera was playing behind a curtain. People couldn't even recognise their own basses, let alone any others. It's amazing how vanilla pretty much every bass sounded. If Thomann stuck that pickup and circuit on this Soviet beauty, nobody would be saying it sounded like a Stingray.

5th gig shot. I doubt I've played to this many people in my entire life. A good start.

I suspect this is in the wrong thread...

The thing is with original material, you're not realistically being measured against another version. I've always felt that I'd be bringing something different into things, I can't bear playing covers. Old material will likely ebb and flow, likely disappearing as time goes on. If you have decent chops, they'll see that.

Steve Jordan has a bit previous with Keith Richards, my first thought was he be a perfect fit. I doubt there was too much of a conversation/debate.

Just a weenie update - for one reason or another, a) I've not really picked up a bass in the last month or so, b) the original 18v PSU purchased was a positive-centre, so unsuitable and c) the original 9v PSU I'd been sharing with the dUg wasn't really suitable (the DI-2112 just sounded shrill, tinny and underwhelming). So an 18v negative-centre PSU arrived earlier and as it's daytime, I just gave it a test drive. Same set-up as above, might have tweaked the horn in the Darkglass 112 since my initial test two months ago. Mother. Of. God. Powered up with the 18v PSU, the DI-2112 is insanely good, the increased power input just gives more of everything (headroom is an uncomfortable generic catchall term here); it sounds louder/phatter/toppier/bigger. With the Lull (John East/active), I've just got the Drive/Tight button pressed in and have just been noodling at volume. It's odd how rolling off the mids from the bass and boosting them back on the DI-2112 has such a vastly different effect than just trying to keep the mids flattish on both. While I don't think [it] has the variety of the dUg, it's certainly not a one trick pony. From an aggression perspective, I'd certainly say that the DI-2112 sits comfortably between the BDDI and the dUg; both will dial in a close approximation to the DI-2112, but the DI-2112 just does it better.

I am at a loss why more manufacturers don't offer a one box power solution. So many of us run these floorboards full of effects and I'm just horrified when I see people plugging these into the front of an amp. I gigged at The Star in Guildford a few years back, was running a rack (Sansamp RBI/Matrix set up) into my old Hartke kit (115/210); all the bands were using my backline and generally the comments were positive - except one. Another bass player was using a Rickenbacker through about six stompboxes which he insisted on running through the RBI. so he was just piling his dirt and tone through the dirt and tone the RBI was already providing. I remember trying to say he should just try and eliminate the fuzz from his signal source as the Sansamp would cover this, but no. Ended up with him telling me my set up sounded terrible. Err, no.

My wife is asking what I want for my birthday and I'm again looking at dipping my toe into the EUB field. I'll profess that while I've been playing regular basses for 30+ years, I've only played double basses/EUBs maybe twice in that period(!), but like to think I made a decent fist of it (I got a small round of applause in a bar in Budapest). Whether they're decent or not, I do like the design of the NS WAV and NXT basses, and of course, why would I bother with a four string when budget either way allows for a five? So, the WAV5 or the NXT5a. Looking at the product descriptions, they look very similar although the NXT has a dual truss rod, an active electronics circuit but weighs 800g more. I assume the WAV is made in the far east and the CR is from the Czech Republic (similar to the Legend and CR Spector basses). I'm fortunate enough to be in the position where I could go for either, but I do like to have nice stuff and I know if I got the WAV I'd be questioning why I didn't go the extra ££ and get the NXT. I'm just trying to justify to myself that the extra ££ is worth it, or whether (for instance) it would be better to get the WAV and maybe use the difference (c.£600) on buying a second Darkglass 1x12. Oh the dilemma. Anyone got experience of both?

I'm fairly certain I want to go this route at some point...

You could use a powered cab; I have one up in the sale section (also has a mini stand to get it up to ear level).

Hubba bubba.

I've seen photos of this configuration...I think I have some on my computer. No idea whether the neck pocket matches. IMO, a Status Graphite Stingray neck would arguably look nicer on a black Jazz bass.

My first bass was a white/cream Arbiter SG thing, £30 loan from my late father. I sold it for a small profit to this hippie bloke and moved on to a Columbus Jazz Bass copy. I honestly no idea where it came from.

Where does 'back in the day' fit in?