NancyJohnson

About three years ago I did a studio project thing and we tried out a couple of newish (to us) drummers in an effort to see whether we could take it out live. Abject failure. When we were recording we'd utilised Beta Monkey live loops for the drums; we did experiment with muting the bass, guitars and lead vocals and tried a live play along with just the drum tracks, various samples and BVs. As a first attempt, it was OK but we decided not to take things forward. It could have been interesting. The big thing here is that if we'd chosen to go out live with a laptop, we'd have had to have been 100% on it, no room for errors or looking around to try and get back into a song if things went wrong. I did quite like the idea of just the two of us with headphones on playing along to backing tracks.

Do it yourself, take your time, be creative. I've got an old beater-P, it was in a sorry condition when I got it, but I bought it back to life. Decided that every time I took it out of the house I'd put another ding in it.

Straight answer, yes. Long answer, yes with caveats.

I'm still trying to get my head around how you prefer a Precision bass, but find the body shape of a Jazz awkward.

Let me see. I've owned a Lakland DJ5 and a Geddy Jazz; no real affiliation with either, it was more down to looks more than anything else. The Jeff Ament Lull again was looks, as I'm 6'5", the oversized body is a wonderful thing, doesn't look like a toy.

I'm listening to the instrumental version of the first Periphery album. I really can't stand the Tasmanian Devil 😈 vocals associated with this band, but the music is off the scale. Wonderful.

It took me a while to join the dots, but I think this is a Warmoth body design. They were certainly selling this shape a few years back and I'd never seen it anywhere other than their website. If anyone does pull the trigger, be warned, from memory it had a very quirky scale length, somewhere between short and 34" longscale, so standard necks would require getting the chisels out. Maybe one for that guy. 🤣 https://www.ebay.co.uk/itm/Vintage-Relic-Givson-India-Bass-Guitar-Body-Mahogany-Challenger-Unusual-Design-/255175369381?mkcid=16&mkevt=1&_trksid=p2349624.m46890.l49286&mkrid=710-127635-2958-0

If you have a grand, build one from sourced parts. For that amount, you could probably build two.

Wings Over America. Go me.

If you're familiar with a band and know their material, live sound isn't so much of a factor IMO and believe me I've been to many a show with terrible sound. If you don't know the band's output, it would be enough to put you off going to gigs forever.

I'm listening to my wife moaning at me because I said I'll empty the dishwasher in the morning, while she thinks it should be done now. She's emptying it now and still muttering under her breath. She thinks I'm texting my sister. I'm not.

The Scarlet gets the signal into the DAW on computer via the USB; it simply converts the analogue input to digital to facilitate this for recording. [Edit: it also allows for live anologue monitoring.] As a rule, effects (or processing, similar emulation as to what the Zoom did), would be applied via a VST plugin after you've recorded. I understand you can use VSTs on the fly, but they will be laggy, which makes them unusable in a live context.

Little confused here...I truth don't wholly understand the question or the reasoning behind it. The Scarlet 2i2 is purely a USB powered audio interface with monitoring facility; you can take an audio out from either of the rear 1/4" jacks and push that to powered monitors or amp, same goes the headphone output, but the headphone output will be a bit hotter than the rear sockets. The Scarlet won't offer you any processing other than the potential to push a hotter signal into the amp. You'd get pretty much the same result just plugging into the front of your amp.

Ying/Yang. They're a bit like Weezer for me; on paper I should adore them, but I really don't. A mate of mine once said something along the lines of, '... they'd be really good if they had a decent singer.'. True, dat. I've seen them live three times I think, maybe four, but this was only down to obtaining guesties through Warner Bros.

I got BSSM for my birthday just after it came out, it was alright, but didn't do much for me. Can't believe it's 30 years old. Never owned anything after this, but I have heard/suffered all the rest of their output (actually quite surprised at their lack of catalogue; averaging out to one album every five or six years). From a fan perspective, I have no idea why they're so adored; musically it's all a bit meh to my ears, hate the vocals.

First out, I'm not a fan of stomps and as I've yet to find an amp that offers a single step solution to make me sound like I want, my signal path is simple, pretty much bass>DI-2112>effects return and I play with everything open/full on the bass. That's it. I've seen guys with mahoosive boards containing multiple drives and effects and most have zero idea on how to balance their board so nothing on there overpowers anything else or where their chorus should sit in the signal chain. It makes my heart sink when I see someone toe-poke a pedal and the bass just disappears and they're just about miming until it's turned off again. As I mentioned earlier, honestly, nobody watching cares whether you're using a certain pedal that cost £££ any more that they're interested about my gear or what I sound like. They're all watching the singer or looking at their phones.

I had an Ashdown head (a racked UK built ABM one) that worked to a fashion. You needed to go into the effect loop return, but at the same time you needed to trick the head into believing it had something plugged into it. I just used to leave a jack to mini-jack converter plugged into the input socket and it worked fine.

On the OP, I've had maybe five-ten people comment on my tone in 30+ years of playing and most of those were bassists. It always makes me laugh seeing these guys, their feet dancing and tapping over these huge boards full of every conceivable pedal, all the while front of house there's zero discernable change to what's coming out if the PA. Sure these stomps alter tone in isolation, but in a live/band context those nuances are lost. In general, the audience doesn't care what you sound like. They really don't.

Truth is you can use any amp with an effects loop and just plug into the effects return, bypassing the amp's pre-stage and just utilising the poweramp side. Nothing is truly transparent though, all circuitry will add colour. Alternatives would be the poweramp route; while everyone who has gone with one has their preferred make/model, I used a Matrix GT for a while and would recommend it to anyone. Lightweight, loud, stereo or bridged mono. The only downside is that you'd need to put it in a rack. [Edit] I always route my bass through Sansamps; I've run a variety (BDDI, VT-BASS, GT2, RBI), currently I have a DI-2112 and a dUg DP thing. I'm running either of these into the effects return on a Darkglass AO/900 head; I rarely go in the front. I'd prefer a Demeter Minnie 800D and know someone who is selling one, but need to shift the Darkglass first.

My wife is covering the cost, so I have to do the dutiful thing, I suppose. I'm still working from home and it's just in the box still.

After playing regular basses for 30+ years, I'm going to be new to EUBs shortly (iI have an NXT5s, it's here but remaining in the box until my birthday in 6 weeks); curious about clipping a tuner to the bridge. I have a few clip-on tuners and tend to favour Snark units over anything else; as you're not going to be busy down the bridge end, would you actually have enough meat on the bridge to clip the tuner and perhaps have it poking up through the strings? Would attaching a tuner to the bridge have any detrimental effect on the piezo?

Better burn my Osmonds records, too.

Well for now things are parked. I still search for Taylors, but I've got an NS EUB incoming (this was always going to be a birthday gift from the missus). It's still on my radar, but not just yet.

While I'd concur with this, I feel the advice is more of a cautionary thing; the approach of leaving to let it settle should perhaps be more a case of allowing the neck material/glues/finish etc to settle. While it's unlikely you'll experience failure, truss rod adjustment should be little and not very often rather than lots once in a whwile,

This is a new phenomenon to me...we all have our own kit, we all bring our own kit, we all look after our own kit.