TrevorR

I was searching for these today... https://www.studiospares.com/Headphones-and-Speakers/Studio-Monitors/Yamaha-MS101-III-Powered-Speaker-10W_274120.htm?CAWELAID=120173110000083270&CAGPSPN=pla&CAAGID=35439278615&CATCI=pla-47420525768&gclid=CjwKEAiAj7TCBRCp2Z22ue-zrj4SJACG7SBE_EPtK4m_P37v1dlYIx9elcqUIHLh5_XL6nJDdVuP6xoCl8_w_wcB And it put me in mind of your thread, Joxotic5. Did you ever get a resolution? Used these before for personal monitoring. Given how directional they are and only 10W or so, it would be hard for the guitar player to argue that it'll raise the stage volume that much. But it might give you the extra vocal clarity you need... they can mount on a mic stand for ease...

OK for clarity... no freebie endorsement deals. I'm aware of several basses which were given as gifts for a variety of reasons (usually around genuine appreciation of bassists' playing or an unsolicited expression of gratitude - both John G Perry and Rob Burns, who were pretty much unpaid evangelists for the marque, got some very special basses sprung on them in this way). So when we say, "no freebies" we really mean no "you're dead famous, have a free bass so long as you promote the company" endorsement freebies. Wal and Pete just didn't operate like that. Paul, Geddy, Justin... all paid for their Wal basses.

Given it's the natural wood grain I'm having problems working out what the"ugly bit" is... if it really bothers you as Gangur says, you have the distance selling regulations to fall back on. BUT! If it REALLY bothers you then take the financial/time hit of not buying online at a best possible price and buy from an actual shop so that you can inspect it at point of sale and ensure that you are happy with the grain and all other aspects of the bass.

Here is my top 10 in rough order, however, based n the enjoyment their music and playing has brought me over the years more than technical prowess and the like... 1. Phil Lynott 2. Geddy Lee 3. Chris Squire 4. Kelly Groucutt (ELO) 5. Neal Murray (Whitesnake and Gary Moore) 6. David Paton (Pilot, Kate Bush, Alan Parsons) 7. Barry Devlin (Horslips) 8. Bernard Edwards 9. Randy Hope Taylor (Incognito) 10. Lee Sklar Bubbling under... Abe Laboriel, Mo Foster, John Gustafson, John G Perry, Rutger Gunnarsson, Alan Spenner, Dave Pegg, Jamerson, Babbitt, Dunn, Herbie Flowers, John Wetton and many others...

You're the only other person I've ever come across plucking lie this. It is great for big, fat, round sounds with lots of body but minimum attack to the note. Reggae-dub-tastic! [quote name='Barking Spiders' timestamp='1481015487' post='3188898'] Ha, another who uses is one a lot. I always use this way for playing Dub / reggae style in this position I also use conventional fingerstyle, thump n' pluck / slap n' pop, plectrum, strumming, double thumbing, slapping by pulling strings upwards. Why stick with just one? [/quote] [quote name='interpol52' timestamp='1481234674' post='3190934'] I mostly play a Precision, I play over the pickup or about an inch to towards the bridge. That playing over the end of the fretboard position feels too loose to me. [/quote] Plucking over the neck can be a very particular thing and, yes, the feel of the string is really different than down by the pickups. But for the soft, stringy, woody sound it produces that's actually kinda the thing. It's a looser sound and a looser feel - and will (only) work (best) in applications where that sound and feel is what's needed. Horses, courses and all that...

[quote name='bazztard' timestamp='1481178424' post='3190225'] so in reality, WE paid for his bass I hope my ten dollar ticket to the Wings Venus and Mars tour gig paid for one of his string trees hehe [/quote] Strictly, since it was a gift from Linda, those with a predeliction for veggie burgers and users of Kodak film paid for it!

[font=Calibri][size=3][color=#000000]The Wiki article doesn't really do justice to the glory/horror that it panto. It's a VERY British form of children's entertainment... these are some typical images (and yes, the male romantic lead IS a girl - ALWAYS!!!)[/color][/size][/font] [font=Calibri][size=3][color=#000000][/color][/size][/font] [font=Calibri][size=3][color=#000000][/color][/size][/font] [font=Calibri][size=3][color=#000000][/color][/size][/font] [font=Calibri][size=3][color=#000000][/color][/size][/font]

[quote name='SICbass' timestamp='1481132294' post='3189943'] Panto rocks! [/quote] "Oh! No, it doesn't!!!!" Taking our little 'un to his first panto this year.. can't wait!

[quote name='Highfox' timestamp='1481128922' post='3189913'] Yes, I read that as well, for a Christmas present. [/quote] The story is pretty well documented in old magazine articles (and orally from Pete Stevens to many). Present from Linda, visited the workshop, looked at a number of fretted and fretless ones. Chose the walnut Mk2 fretted 5...

Polytune and Snark (with a TU2 that the Polytune replaced in 3rd place).

Depends if you want to record an effected sound or record clean and re-amp/use an "amping" module later on in your DAW. I use a Tech 21 VT DI for going into the PA and I love it!!! Sort of emulates a couple of Ampeg bass amps. Others will have different views on their fave DIs/pre-amps.

DI of some type. You have a question of whether you use a plain DI or a Sansamp-type preamp/DI to give a more amped tone.

[quote name='Numerov' timestamp='1480966364' post='3188519'] I have read that in the [i]The Squier Vintage Modified Jaguar Bass® Special SS (Short Scale) the output of the P pickup is [/i]6.54K and the J bridge pickup is 4.65K. I do find the P bass sound is definitely in charge with both pickups at 100% Ideally should the outputs of these 2 pickups be more closely balanced to get more tonal variety? Also I would prefer pickups hotter than these. Anyone out there who can advise on the ideal balance between these 2 pickups and how hot you can go without sacrificing tone and character? Thanks! [/quote] But does it sound good? And anyway, "hotness" of pickups is much more of a guitarist obsession than a bassist worry where much of the issue is the ability to overdrive the front end of an amp - hence the endless Strat vs Les Paul debates. Much less of an issue for a bass. Your thinking in terms of minutiae of technical spec seems like a rabbit hole to get lost down rather than a helpful setting out of must-have, required characteristics (and given the elements benig J focused on a bit more "guitarthink" than "bassthink". And IMO another reason not to dismiss active circuits out of hand because of the advantages they bring, that seem to be speaking into a lot of your worries... e.g. A hotter, lower impedance output being presented T the amp/DI/effects, greater tonal flexibility and tone shaping onboard the bass, use of a pickup pan control instead of two volumes which may give you a smoother graduation between tones...

[quote name='darkandrew' timestamp='1480891801' post='3187947'] I know a lot of people worry about active preamps' batteries going mid gig but in 25 years of playing bass I've never had that happen. It's a bit like running out of fuel on the motorway - over a similar period of driving, I've never run out of fuel on the motorway either. As long as you keep your bass well serviced, including regular battery changes, it really shouldn't be something to worry about. [/quote] +1 to this. Don't over fret about battery life. A single battery should last you ages... six months or a year maybe. Both my basses are active and get regular playing but only need battery changes on that type of time scale. Liking the feel and sound is much more important than the types of technical spec options that you seem to be fretting over. Here are the five main questions to be asking... do you like the look? Does it feel right in your hands? Do you like the sound/sounds it makes? Is it well made with decent quality components? And is it in my price range? Answer "Yes" to those 5 questions and you really won't go far wrong with whatever you plump for. PS Editorial comment: we will watch with interest as your bass collection shifts and swells over the next year or so. From the conversation so far you sound like a prime candidate for GAS and for "grasss always greener" bass purchasing...

I'd love to see some of the classical musos I know trying to cope with an authentic period 17th or 18th C classical music audience (to match their authentic period instruments). The ones where they'd cheer during bits which they liked (the equivalent to the round of applause 8 bars in to a hit on a live album when the audience suddenly recognise their fave tune, or after the lead guitarist does a blistering solo), make the orchestra play their good bits again, often in the middle of a piece, or call out in the concert for the orchestra to play some hits and oldies that they knew.

[quote name='pfretrock' timestamp='1480885116' post='3187865'] Interesting comment from Chris Squire on his pick style (and a great master Class). Starts at 2:40 https://www.youtube.com/watch?v=cprcYnffK_o [/quote] Oooh, haven't watched that vid in yonks. So great hearing him run through the Tempus Fugit riff on the white Electra bass!

And you're not necessarily safe on a slightly raised stage. Was doing a corporate Xmas do at a Heathrow hotel a while back on a raised stage. In the middle of one song, once we'd got the crowd a bit revved up, the stage suddenly seemed to be bouncing a bit harder than our jigging would have suggested. Towards the end of the song I turned round to see three quite drunk ladies jumping up and down in their torrery high heels with my other Wal and the guitarist's Les Paul and Takamine slung around their necks (usherette's tray style). We quickly truncated the song and as quietly as possible extricated our instruments from them without them getting damaged. The girls remonstrated and were told that these were expensive delicate instruments. One of them tried the old, "Yeah, well if we'd broken it we'd have bought you a new one". When we pointed out that left to right the replacement value of the instruments were a grand and a half, two and a half grand and four grand they had the decency to turn a sickly green shade of white, start apologising profusely and trooped dutifully off the stage and round to the front where they continued to party on while flirting with us for the rest of the evening. We had them back on later in the evening to do backing vocals with me on Mustang Sally so it ended up all very good natured. From then on we always has cheap blow up guitars and saxophones available and ready to distribute to the punters.

I was playing in church this morning. As I was playing a few things occurred to me. The big thing that struck me was... Given the number of times I've heard the cliche about "it all being in the fingers when it comes to tone" it's amazing how few players I've ever acrually seen varying their right hand technique to vary tone. It is an absolutely fundamental part of my playing style and I find it can create a huge range of different different tones. Thinking about it this afternoon, across the seven or eight songs we played this morning I think I used pretty much all of the plucking positions and styles that I vary between. And that's bearing in mind that I don't slap or tap so those techniques aren't even included. I wondered how many others use a range of different plucking styles and who doesn't - just sticking to the same basic technique and/or hand placement. This afternoon I counted up nine or ten distinct plucking positions or styles. For those who are wondering what I'm talking about, here they are... (and in fact, you could probably add another, "side of the thumb over the neck pickup").

[quote name='HengistPod' timestamp='1480598438' post='3185723'] P.S. Usually just the one bass, sometimes two if a short pause in the set while I re-string wouldn't be cool. Depends on venue. [/quote] I've always subscribed to the view... Not cool at Wembley, not cool at the Hammersmith Odeon (I'm old) but equally not cool at Bob and Mary's wedding or at the Dog & Ferret.

[quote name='visog' timestamp='1480705134' post='3186649'] [color=#282828][font=helvetica, arial, sans-serif]Not sure about those 3-bolt neck joints from Fender and others [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]And who said shimming in this day and age of super-flexible bridge and nut adjustment.[/font][/color] [/quote] It amuses me that I grew up with the perceived wisdom that 70s Fenders, esp 3 bolt ones, were shoddy rubbish and to be avoided at all costs. But now they're old enough to be considered "vintage" and are therefore desirable and commanding a premium price... How times change.

[quote name='ambient' timestamp='1480689782' post='3186453'] It'd be interesting to compare a neck through bass, with an instrument with exactly the same hardware, electronics, strings and wood etc, but with a bolt on neck. [/quote] My thru neck Aria SB700 always seemed to have a touch more punch and a much longer sustain than my chum's set neck SB600. Think they were identical other than thru vs glued. Of course a gazillion other factors may have caused this. But I just put it out there anyway.

One of the Sansamp Character Series overdrive pedals could be your friend here as it will give more of a guitar amp/speaker vibe to the sound and take the clinical full range edge off the overdrive/distortion sounds. Or similarly a small multi-effects unit with a speaker-sim function...

[quote name='RhysP' timestamp='1479659858' post='3178208'] I found that they are more more stable from a tuning perspective if I stretch them when putting them on. If I don't stretch them they take a lot longer to get to the point where they settle down & don't need frequent tuning. [/quote] [quote name='stuckinthepod' timestamp='1479730986' post='3178756'] I've always give the string a stretch of about an inch at the twelfth fret and then fretted and bent the strings (heavy finger virato style) at three fret intervals up the length of the neck. I did this on Saturday morning with a pack of D'addario EXP and played them that night with no issues. [/quote] [quote name='FinnDave' timestamp='1479732514' post='3178773'] I lift the new strings away from the fretboard a couple of inches after restringing and tuning to pitch, then re-tune and that's it. I did that Saturday with my new-to-me Precision and it stayed in tune for th whole of that evening's gig. [/quote] Me too. Once at pitch just give them a few little pulls up. If I'm in a cheeky mood I might let them "splang" back down onto the fretboard. It seems to seat them in nicely and help them settle down quicker. Surely the "detaching the windings from the core and killing the strings thing must be pure bunkum, otherwise every slapper and plucker would have to change their strings after every... well, every song, let alone after every gig. Any set of Mark King's strings get a darned sight more abuse through a single rendition of Lessons in Love than I give my strings during a string change and tuning up session. How does he ever manage to get to the end of a whole gig with strings that have completely died by the end of the intro of the first song?

[quote name='vinorange' timestamp='1480410981' post='3184066'] I was considering a gentle trim of the socket collar to allow the jack to go in slightly deeper. It may be [i][b]all I need to do to avoid any change of cable[/b][/i] / socket.............I wonder if I should try that first with my dremel or a hack saw. [/quote] Risking hundreds of dollars damage to an expensive amp to avoid spending ten or twenty dollars on a new cable really shouldn't be plan A, or B or any letter higher than Z!!!

[quote name='chris_b' timestamp='1480414123' post='3184106'] Nooooooooooo. . . . have you tried other cables yet? If the socket is soldered directly on to the board you might break the joint and cause more damage. Identify the actual cause of the problem before you start hacking away at this fantastic and expensive amp! [/quote] This, this , THIS!!!! SO VERY VERY THIS!!!!!