Iain

[quote name='Sparky Mark' timestamp='1418480868' post='2630549']I have noticed that the new head takes 8 seconds for the output relay to 'click' after switching the amp on. This is much longer than the original design and may be an easier way of telling which version you have.[/quote] My BB head does the same. Can't fault the tone from it either.

[quote name='HengistPod' timestamp='1418209963' post='2627923']I'm surprised at the lack of broken strings on display in this topic. I tend to break an A or E string at least every dozen gigs or so. I do tend to dig in with a pick near the bridge, though.[/quote] I've only ever broken a string back when I played mostly with a pick, usually the G but a D once. Back in the day when I didn't have spare cash for spare socks, let along strings. Playing a gig with a missing string was interesting.

I take a spare to gigs, not practice. Used to have a 5-string as backup and played most stuff on the 4 but have made the jump to a quality 5 and have my original 4 as a spare.

[quote name='JTUK' timestamp='1417951496' post='2625309']any regular band that uses them and sets them up on the stage is a bit crap, tbh..[/quote] that was the discussion and conclusion we had in our covers band. Particularly for vox. In our view we should all have learned our parts properly and can focus n giving the best performance we can - focussing on being technically excellent and engaging. I don't sight read so it's just be chordal progressions to remind me but I find I don't need them usually - we're not doing 3-hour epic tracks!

I've had the pleasure of playing with drummers much better at drumming than I am on bass a few times. One a rock drummer who has played for Paradise Lost and another who has a list of credits that was really impressive. Both were awesome, put down some great beats and made the sound of the rest of the band better. Utter privilege to play with great musicians. Equally sometimes you find yourself with people who are still improving and, hopefully, your own playing makes them better. I try not to judge too much, I was bad on bass, now I'm better. There are people much better that I aspire to equal. Sometimes though I can see that you'd want to distance yourself from a musician who's just at a different stage to yourself - otherwise you'll fail to achieve your potential and end up frustrated.

[quote name='ras52' timestamp='1417691753' post='2623047'] I knew you were going to say that. [/quote] *rofl*

[quote name='neepheid' timestamp='1417515331' post='2621095']I don't think I'd stick it long. The drummer and I are supposed to be partners in rhythm and the engine room of the band. If we're not singing from the same sheet for any reason, it's going to sound crap, and I'd want no part in that.[/quote] This! I've played with drummers who have wandering timing and it's annoying but not as bad as the drummer who comes in half a beat out after and and every fill. You get to the point where you're doubting yourself! Have this with one drummer who comes along to a jam session we have monthly - it's a random collective with no purpose than being relaxed fun. After a very short while the rest of us compensate for it and we're back in time. Had a new guy along last time who didn't know many of the songs we did but kept great time. Weird choices occasionally but always in time.

I generally have a little all the time. I use a rack mount fx unit (Eleven Rack) and have just a little dialled in early in the chain. Usually ~4:1, slow attack, fast release. Generally not too strong or intrusive... just levels things out a little.

[quote name='Grassie' timestamp='1417164469' post='2617599'] I didn't have much of a problem making the transition from 4 to 5 strings, and played 5's exclusively for around 10 years before going back to a 4. Now seriously contemplating picking up a 5 again. Don't forget though, having a 5 isn't just about having those extra lower notes - it's also about being able to play lines with minimal hand movement by playing across the fretboard as opposed to up and down the fretboard (if that makes sense). [/quote] Sound advice - it's really handy to be able to work in a different position, makes changes from nut-12th fret regions much simpler if you can reposition. 5 strings also offer up tonal variety to play with if you want to smooth out the attack from an open string. I find that care has to be taken with higher frets on the B though as intonation is (as far as reading tells me) less accurate further up past 12th fret. I started out with a really nice (for the monay) ESP 5-String as a try it and see bass. Wasn't up to the standard of my Sterling oth px'd for a Warwick Thumb 5 BO. Love the playability but find it very neck-heavy, will probably swap it out soon - thinking Dingwall.

He's better than me. Doh!

Seems to be a theme around big, arena+, venues. Smaller places usually have a better balance. Always makes me sad inside when I realise my brain is filling in the bass lines rather than my ears. The only mud should be what the audience is standing in!

[quote name='UglyDog' timestamp='1416860660' post='2614479'] I went to see Rush on their Hold Your Fire tour at Wembley Arena in 1988(?). Ged was playing his black Wal, and looked like he was on great form -- a bit hard to tell though, because I didn't hear a single bloody note he played all night [/quote] It wasn't until the Clockwork Angels tour that I found their bass mix to be right and that was only at one of the two shows... Worked out that it's because bad planning and budget has meant seats way off to the side all barring the Birmingham show - 6 rows back just left of centre and the whole mix was great.

I run a 121H and 151P and it does everything really well. Tend to run with the piezo in 15" off and the horn on the 12" mid-way. I have a Big Bang head with an Avid Eleven Rack for fx and the versatility is huge. Smaller gigs I just use the 121H.

Much as some of the technique was good... oh the face! His Under the Bridge is pretty good though.

Initial thought was Milwaukee is a bit far to travel to from NW England...

Which bit doesn't fit properly the ball retaining bit or the actual saddle groove?

A bit of Googling suggests that Rotosound string will fit basses with a narrow gap as the B & E are tapered slightly at the ball end. There are, of course, fully tapered strings where they're tapered before the bridge but I don't know if there are downsides to them?

Had this problem with my Thumb 5 - B and E were too wide. I Squished them with a pair of pliers and it fitted fine but the next set of strings will have to be tapered windings at the ball end. Anyone got any recommendations (ideally bright, strings suitable for roack)...?

[quote name='blue' timestamp='1415129127' post='2597070'] The thing that gets me is, as I understand it, your pub gigs are not 4 hours with two 15 minute breaks nights like ours. We are doing a Legion Hall thing this weekend, so we get a break. It's a 7-10 deal. Blue [/quote] Doesn't sound fun but that's the 'working band' scene in the US I guess? My band's 'just' a hobby band - I refer to it as my mid-life crisis band... We're not aiming to make a living at it, that's why I program computers during the day. Our general deal is two sets ~45 mins each. Started out @ 35 mins per set - but it's getting longer as we get most material we enjoy and crowds respond to. We're usually asked how long we want to play for! Last gig we were nearly lynched when we finished - the crowd weren't - so our encore grew an encore. Then it was quit while we were ahead or repeat a song. Been asked to do a bi-monthly slot there which is great even if it is the worlds smallest stage and pretty sweaty by the end. Bar gigs have been good to us so far but we're still working our sh*t out, would be nice to play some bigger venues but we're just not so polished yet.

Our singer, Ben, got married yesterday so we did a very short set to the reception. We've just changed drummers and the new guy has yet to practice with us other than the audition. This presented a little problem - "not to worry" says Ben, "a few of my mates who drum will be there, I'll get one of them to sit in". Roll on gig time, we plug in and are ready to go... drum seat empty. Ben gets on the mic and cajoles one of his long-term friends to come up and drum... We blast through Song 2 and Alive with Jeff and we swap drummer. We're introduced to Andy and rip through Vertigo and jam through Pretty vacant and Back in Black as the singer had gone awol seeing off some guests! Short and sweet 'set', sounded great and utterly gob-smacked how good drummers can just slot in seemlessly. Found out the drummers full names and I've now had the privilege of meeting and playing with drummers who have been in/played with: Blaze, Paradise Lost, Moby, Faithless, Groove Armada. Plus got to celebrate a wedding with a good friend and his gorgeous wife. Happy days.

I'd guess it depends on what the band is there for. Mine's a hobby band. We play covers that we like. If it's fun none of us would do it and the band atmosphere is key to that. Practice, gig, social - all got to be fun. Not all the time - we all have off days but mostly. We spent a weekend away together recently - singer's stag do - and it was great - eating, drinking, shooting (clays). We're all (barring the new drummer we brought in last week) off to his wedding this weekend. I guess if you're in a 'working' band then it's different - you have to pay the bills so you bring your game face to rehearsal and gig and don't rock the boat.

Three (vox, 2 guitarists) of my band were at school together (they're 40 now) and are good friends. Over the year I've been in the band I've become friends with them to the point that hanging out is as much fun as playing. We've just changed drummer as the chemistry wasn't right - hopefully the new guy will become a friend over time. We do this for fun, wouldn't want to do it with people I didn't get on with.

[quote name='stingrayPete1977' timestamp='1414009357' post='2584880'] What am I missing and where should I be shopping? PMT Birmingham, guitar guitar Birmingham and Bass Direct are my nearest shops. [/quote] Sandberg TM5? Bassdirect have a couple of these in. Played the 4 string version up and Great British Bass lounge up in Manchester and it was really, really nice.

[quote name='xgsjx' timestamp='1412427536' post='2568855']I wouldn't expect many poor quality cabs to be of use in a loud band regardless of driver config.[/quote] Indeed - I used to have a 2x10 and 1x15 Ampeg setup and it was just nasty when asked to work hard. The Traveller 121H delivered a better sound alone than the Ampeg stack. If I had car space I'd probably use a 104 but the separate cabs give me flex on gig size...

[quote name='JTUK' timestamp='1412415690' post='2568687'] I would be pretty sceptical and a 210 could really do a very good job at volume. I think you might, just might, get there in terms of volume, but it would be pretty weak and by that, it might sound ok close up, but it wouldn't be supporting the band against the loud drums and loud gtrs, IMO. I guess it depends what we all mean by loud but a typical 210 would be 350/400 and that is a hard shift against loud drums and gtrs. I think there is a world of difference between volume and being THERE... [/quote] Yeah, it can be quite trial and error as to what works. I've come to the conclusion that it's better to have too much and turn it down than be pushing headroom. Before I added the 1x15 MB cab to my 1x12 - I'd used the 1x12 in a large social club and you could hear it out in the street apparently. Running 12" and 15" just reinforced the bottom end to the point I get the sound I want at any volume we've needed so far. I'm not sure I could gig 2X10 at higher volumes and get the oomph I want without it becoming messy. At least not 'cheap' 2x10s. I suspect there's a cost-quality correlation to take into account though.