AustinArto

Yeah maybe but given that I'm going all software I don't know what for. :/

If they had anything novel in the first place they'd have an argument. Sounds like they're just annoyed they sold their idea to a middle-aged talent-show chump instead of an ugly ginger feller. If all of them were killed in a bus crash tomorrow I don't think the world of music would pine for them.

Not my cup of tea. I admit though I enjoyed it because it's kids, if it was adults I would've turned it off. I still love the sound of kids playing guitars, it's just better.

Typically active preamps in basses offer two benefits: 1) Low output impedance so less (well, practically no) 'tone suck' as your pickup signal travels down the cable to your amp. 2) Active EQ, so the potential to boost/cut different frequencies. Whereas on a passive bass you get high output impedance from the pickups and you either need to hit the amp in a hurry (good 5m cables are OK, longer and you'll hear treble loss) or have a good active buffer inline (the first pedal in a pedalboard is often a good spot for such a line-booster, after which your signal is low-impedance and behaves much like the signal from an active bass). and the only tone control you get is a passive low-pass filter. So wide open you get everything the pickup has to offer*, and as you turn it down you lose treble frequencies to a capacitor**. * This also depends on the impedance of the potentiometers you're using for both volume and tone. Fender tend to use 250k in their passive basses but you will notice more treble content if you swap them out for 500k. ** Fender like to use .22 or .47uF caps in their passive instruments. A .1uF cap on a bass tone pot will allow you to roll a lot more treble off and give you a very subby sound. For the record the first thing I do with any passive bass is replace the pots with 500k and replace the tone cap with a .1uF. It just gives a broader range.

I think I'm decided that I'm using my Mac for effects from now on (we need a laptop on stage anyway and it makes it easier to have separate effects lines for my bass and my synth, plus potential for sequencing the synth) but it does mean selling my Future Impact if I'm not going to be using it. I'm not sure how to price it given that it seems over-subscribed at the moment. Suggestions?

[quote name='Badass' timestamp='1464851331' post='3063067'] Can I derail a little please? What low-pass filter do you use? [/quote] Currently an Iron Ether Xerograph, I've used Ableton for it recently too.

[quote name='ivansc' timestamp='1464715132' post='3061774'] What an interesting idea. I am just about finished with my current project in France (repairing and converting an old forge) and may get tempted even though I already have a small studio inside the current UK house. What makes this such a great idea is that it CAN be moved. I love the idea of being able to take a studio with me as and when we finally move to France for good. And happily I have room in the garden of one of the houses for just such a building! [/quote] Trying not to be jealous and failing. Now trying not to imagine your fiery death. Failing. In all fairness though I was never going to get to do the early retirement thing so good on you if it's working out for you. I do have a missus who stands to inherit a fortune I just have to murder her parents.

Volume 10, tone 10 or 0, pickups wired in series (switchable), 500k volume and tone pots, .1uF tone cap. Still all passive but LOADS more beef and range available. Usually I leave the tone wide open and use a low-pass filter pedal instead of the tone pot.

I've been meaning to assemble a reversed-headstock Jazz and never once considered that a standard E might not fit, so this thread has been very valuable, thank you.

Don't know if it was Jeff Lynne but it sounds to me like he wrote the song and he's quite the arranger to be fair. I find the whole thing to be dull as dishwater but if your audience likes it you have to lump it, eh. This is why I don't play in cover bands. [quote name='Leonard Smalls' timestamp='1464769903' post='3062270'] I reckon it'd be better with an anthemic synth, glitch percussion and slap bass solo right in the middle... [/quote] I was thinking wobble bass and a handful of Mancunian rave MCs.

I'm always the one with all the cables, and spares, and that bag is getting heavy and it does irritate me a bit, but no I don't worry about having professional-looking instruments or (certainly not!) cases!

I only ever really play double bass at home, but I don't have a gig on it at the moment so all my band stuff is on bass guitar and synth bass. So yes I probably would still play bass at home, but not like I do in the band. With the band I also enjoy arranging and recording and producing and stuff too, I'd miss that, but not so much the bass guitar probably. In fact the recent recordings we've done I've sequenced most of the bass!

[quote name='blue' timestamp='1464391433' post='3059234'] That's great. In the US I think there are some cities where the originals band scene has a much larger foot print than here in Milwaukee.[/quote] When I lived in the USA in the mid '90s I played in an originals band doing funk / acid-jazz stuff based on the Jersey shore, we toured up and down the east coast mostly but got out to cali every so often, up to the lakes once a year, none of us had other jobs we made a good living doing this band. There were ten of us in the band. Can't recall if we played Milwaukee. I do like towns with native american names though. My favourite local town name was Manasquan. Also Mantoloking.

Funnily enough I've been playing Rotosound RS66 (steel) roundwounds since the first day I started playing bass, and I'm still using them. But I also love LaBella 760FL flats. Just don't ever buy a double bass unless you've got about a grand to spend trying different strings...

If you really like the Jazz then beef up bro. If you'd said you had some chronic shoulder condition or something I'd say trade, but you don't, so keep the jazz. I also never liked Stingrays but whatever... I've played a lot of jazzes and can't remember any being ridiculously heavy. I had a Thumb bass for years that weighed more than a friend's Stingray 5 but it wasn't an issue gigging it and I'm hardly Arnie. I think you'll be right.

Doesn't it take 3x the power to get a 3dB increase in perceived volume - therefore a doubling of perceived volume? So a 100w amp should go half as loud as a 300w amp, and to refer back to the original poster's gear his 450w amp should go a little less than 1dB louder than his 300w amp. Maybe the 450w head is broken, or maybe the 300w head is putting out more of the frequencies that the user perceives as loud. Who knows.

[quote name='discreet' timestamp='1464386552' post='3059181']the Squier logo can be more desirable in certain circles where you're only considered a 'proper' gigging bass player if you play a Squier bass through a Peavey combo, or some other workhorse rig. Genuine Fenders and expensive lightweight gear are seen as a bit gauche and probably means you're a weekend warrior. [/quote] For about three years I was gigging a Squier Jazz strung with flats through a GB Shuttle 6 into a Schroeder 1212L. Must've confused a few.

[quote name='Lozz196' timestamp='1464387411' post='3059190'] Definitely. It`s really rewarding when that happens, or when people talk to you about their fave song of yours and why they like it so much. [/quote] To be fair I once had a guy come up to me in a shop because he'd seen me play the night before and ask me when my band was playing again. The night before we'd played Sunshine Of Your Love - and only Sunshine Of Your Love - for approximately 50 minutes until the venue owner noticed and turned us off. But apparently we were the best band this guy had seen in ages!

[quote name='Grangur' timestamp='1464330131' post='3058428'] So you should buy a Fender if you want a Fender logo. Fixing a Fender logo on a non Fender bass is theft of Fender's Intellectual Property blah, blah... [/quote] If you'd read the post you quoted you'd have noticed I haven't done that, the only bass I have that carries a Fender logo has a Mex Fender neck on it, the logo is on the flat part at the end, presumably because a Mexican Fender employee put it there, not me. I really wouldn't have the patience or inclination to try to fake a Fender neck, I just think the logo is part of the look of the headstock and it looks good. I don't even like the current decal to be honest, I only really like the ones they used in the '70s with the bigger blocky font.