TrevorR

There's a great acid-jazz version of this by Snowboy...

This is what I use, also not cheap but bom proof and really great quality... https://www.andertons.co.uk/lehle-3at1-sgos-switcher-with-midi-for-three-instruments-(stereo)-to-either-amp-or-tuner-3at1?LGWCODE=3AT1;56375;6335&gclid=Cj0KCQiAjO_QBRC4ARIsAD2FsXMY_jKDziEgHfiEvxZvh4zcANQDnJRJinlJBAqfjey-bX7PxjgQ3XQaAqzOEALw_wcB

That about sums it up for me!

Once you've optimised the pickup heights, get a switcher pedal that allows you to adjust the different inputs so you can balance the basses output against the Mike Dirnt and present your pedals/amp with a consistent input level. Alternatively get a clean boost pedal for the Dirnt to lift its output to match the other basses... That's what I did when I was gigging a high output active Wal alongside a passive Aria SB700 - brought the output of the Wal down so that when I hit the switcher pedal the volumes were consistent.

William ploppedner Sorry, totally random and OT but fascinated to see what the profanity filter did, having just had to re-edit “ass-hat”...

Fair enough, but the tone (from some) went from 0 to “He’s a troll/con artist” in under three seconds. I reckon there’s a really interesting bit of Basschattery to be had here if we’re all a bit more open and welcoming to a noob and dial down the “a$$hattery” a smidge.

For me it’s Thin Lizzy. Always my favourite. And Gordon Giltrap. Next year marks my 40 year as a Giltrapophile! But closely followed by ELO, Rush and Horslips.

Now now now chaps. Before jumping to conspiracy theories you might try finding some facts. Been chatting to Stu by PM and to be honest if you want to label him as anything you can accuse him of being a “lucky bu£&er”. I know that every time I walk by a junk shop or go to a car boot sale I imagine I’m going to come home with a 59 Les Paul that I paid the princely sum of £100 for. And if I did I’d probably wonder if I’d just unwittingly done a shonky deal, because I’m pretty sure I’m not that lucky! Once in a while someone is... and the worst you can accuse them of being is a “lucky bu£&er” and you can hardly blame them for being a bit bewildered!

http://walbasshistory.blogspot.co.uk/

Stu, sent you a PM...

Don’t know about an extra star. He certainly gets an extra “m”!

I admire his skill and think his playing with Joni Mitchell was exquisite. I do love Weather Report though for me the draw is Zawinul not Jaco. And I probably enjoy Alphonso Johnson’s playing more. Jaco’s solo work tends to leave me a bit cold though and always feels a bit self indulgent to me. However impressive it is. Perhaps for me he’s just a player I prefer when working within constraints rather than free to go where he wanted...

And he taught Derek Smalls everything he knows! seriously, he did!

I think we fall into lazy cliches about this every time it comes up... Player in originals band = artist pursuing his dream... Hired dot reader = soulless automaton simply turning the handle for the money without a shred of artistic integrity Neither of these need be the case and often the opposite is true. I know players in pretty successful signed originals bands who still do it for the love, others who do it because it’s the only viable income stream they’ve got and a mortgage to cover. Then I think about the session players I know. I’m thinking or a few guys and gals who between them have worked with ELO, Katie Melua, We Will Rock You, Mamma Mia, Michael Nyman, Hans Zimmer, ex Whitesnake members, Strictly Come Dancing (Ie Dancing With The Stars), Jools Holland, Gary Barlow, the BBC Jazz Orchestra, Jamie Cullum, BBC Children In Need backing music, CBeebies children’s TV promotional events... there are plenty in there to choose from that will make your eyes revolve skyward and prompt you to make pretend vomiting noises... But you know something. Every time they turn up having learned a set or having a sheet of music plonked in front of them you know what you get? 100% passion, skill, commitment to the music (however pap it is), groove, emotion, feel, more groove... all the things “their type”are supposed to lack. Then I know guys who play in function and wedding bands who turn up, get a cheque, and go home. I know more who play that show to 80 drunk, unlistening wedding guests with as much commitment and passion as Slash rocking Madison Square Gardens... Personally, that was always my attitude back in my pub, function and wedding band days.

I feel your pain. I do the music for one of the ensembles with which I’m involved. It can take me maybe two or three hours per song to ensure that the chords are completely right, compile them in OnSong and then distribute them in pdf and OnSong format to all members. And still one of the guitar players prefers to “do his own chords” in a format he likes despite having been sent the correct chord sheets like everyone else. Then he gets frustrated in rehearsals and starts sniping at the rest of the musos that “someone’s playing the chords all wrong!” Yes, and guess who it is. EVERY SINGLE TIME. But still he seems incapable of deciding to use my circulated chord sheets as the basis for his Word Art ridden, phantasmagorical creations. Nope, www dot malwarechordsheets dot ru remains his go to source.

To answer the OPs question, the reason is that the internet is dominated by idiots with no comprehension of the phrase “quality assurance” and enough arrogance to presume that their half a#*ed attempt is right. I like to imagine them as 15year old spotty ‘Erberts! For example, for many years the ONLY version of the Doobie Brothers’ classic Long Train Running available on chord and lyric sites was as follows... Spotty ‘Erbertness highlighted in bold... Problem was that it got posted on one lyric site. Then all the other lyric sites data-scraped it and put it on their sites. Then people used it as the basis for half a#*sed attempts at posting the chords. That got data-scraped and reposted... until it was ubiquitous on all the chord sites. We’ll forget the fact that most of these phrases make absolutely no sense in the context of the song or in the context of the English language! QA’d sites like Google Play means that it’s less common than it was but for many years those WERE the words as far as the Internet was concerned. Honestly, I have heard cover bands singing THOSE lyrics. Chord sites, tab sites... all the same principles apply.

Whoops, AS50... I see that they're now digital effects. At £250 from GAK and others they're pretty good value, IMHO.

I like the 50w version of the Marshall amp. Esp if they still have the analogue chorus and reverb on them. I've got an old AC50 and I think the analogue effects are warmer and more pleasant than the digital ones on the AC100. Mind you, it was some years ago I compared. So they may be much better by now. The Marshalls are good little amps.

IMO this is the best ever explanation of how effects work... http://www.monkeyfx.co.uk/guides.html All through the medium of teeny tiny monkeys! Here's an extract... For context... Down to business...

I love the intro to this tune. And Tiran Porter's bass tone on the opening section is pretty much my idea of Aural Heaven!!!! This is hard to beat as well... And finally... The fabulous Mr Gustafson (RIP)

Well, zombie thread review but I had to show this photo... latest cable order from Rock Wire aka @obbm arrived yesterday. Six metre bass lead with one straight and one angled Neutrik. Beautifully made to the highest quality as usual. However, while I do very much like and rate the Klotz and Van Damme cable I’ve had in all my previous orders, this was my first cable with Sommer Spirit LL X wire. Have to say I’m even more impressed. While the others are top quality wires the Sommer wire feels even more substantial, like it’s a wire that takes its role in life seriously and is determined never to let you down. A bit stiffer and heavier gauge than the others but looks and feels the business. Even more impressed than usual. Th other half of my order were a couple of 3m mono jack to female XLR cables (Van Damme balanced mic cable) bought with a specific purpose in mind. And as this photo proves, there is no audio application in life that’s not greatly enhanced by a really good quality cable! “Let It Go”, “The Bare Necessities” and “Supercaliwotsitdoodad” never sounded so good!

First test is when wired like the above does the bass work with a normal cable. Then we can think about the wireless...

Don’t know the specific preamps involved but wouldn’t the wiring be something like... Of course, that wouldn’t just be + straight to - or + straight to ground but rather the wires that are sleeve on the bass TRS socket = - or ground and the wires on the TRS socket that are to ring or +. If that makes sense...

With my old passive Aria and Squier Jazz the clip light on my Series Six TE1215 would flash at about 1-2 o'clock, 10-11 o'clock with my Wal. Does your P have a particularly low output or do you play particularly gently? I've always set the amp up to give the highest input gain level without any clipping and then adjusted the volume control for... erm... volume. Never had an amp that one of my basses wouldn't overdrive if the gain was up high, though. Or maybe you've had a bad run of luck buying amps where the clip LED had failed...