PaulWarning

would anybody buy this without playing it first?

[quote name='LewisK1975' timestamp='1461066900' post='3031079'] Plus now the split pickup is the 'right' way round!........I'll get me coat. [/quote]funnily enough I did have a lot of trouble getting the volume the same across all the strings, it never occurred to me at the time about the split pickup thing, just thought it was because it was a cheap bass

[quote name='kevin_lindsay' timestamp='1461079201' post='3031256'] The first bass I ever played was my friend Jimmy Davidson's 1973/4 Fender Jazz Bass. This was around 1978 or so. I remember thinking that it felt huge to my 14 year old hands. Jimmy had bought the bass in 1975 and it was always his favourite instrument. When it came time for me to buy my own bass, Jimmy came along with me to the music stores. I ended up getting a Westone Thunder 1A. Great bass to begin on. I then traded that in for an all-black, unlined, fretless Westone Thunder 1A. 5 years ago, my friend Jimmy was feeling a bit under the weather. He saw his doctor, who sent him for tests. The results came back that he had cancer. This was in the December. By the following March he passed away. The family contacted my brother about selling the bass. I called The Bass Gallery to see about sending it to them in order to get the best price. When I called Jimmy's family to advise them, his daughter said, "we're glad you called us Kevin. My dad always said that if you showed any interest in it, he wanted you to have it". I explained that at the time, I wasn't in a position to afford an instrument of that value. She then replied, "no, you misunderstand, we want you to have it as a gift"!!! It was an incredibly touching gesture, and I shed a few tears. The strange thing was, that whenever I played it, I always thought "this is Jimmy's bass, not mine", and I couldn't enjoy it for what it was at that time. So, I loaned it to my friend Paul Turner for a few years. He used it on various gigs (Jamiroquai, Shuffler, Take That, etc). I got it back last March to use on a charity gig for the hospice who looked after Jimmy in his final few weeks. I could, at long last, enjoy it. It's a great sounding bass. So, I now have the very first bass guitar I ever held in my hands. [url="http://s7.photobucket.com/user/kevin_lindsay/media/FB_IMG_1426058937455.jpg.html"][/url] [/quote]I was going to put 'nice story that' but your friend died so I guess it's not, but I hope you know what I mean

still got my Hondo, bought it for £40 off a mates son, as above it doesn't get used, but is worth so little I also keep for sentimental reasons and as a backup for gigs, (sounds a lot better than an encore I found leaning against a dustbin) never needed it yet, still prefer the neck to my rose wood P, it's a right handed but still looked good when converted too cack handed

whenever I've found 'my' tone, I've changed my mind a week later

I not sure about being to old at 34! IMO one of the reasons why it appears easier to learn when you're young is because at that age you tend to be more obsessive about it, whereas when you're older other things need your attention as well so you just don't practice as much

[quote name='CamdenRob' timestamp='1460701009' post='3027899'] I had a Carlsbro Viper for a while in the 90s... That was crap too. [/quote]I had a Carlsboro Bass Beasty for a few years, no complaints, till the pre amp went up in smoke, bloody heavy though

Carlsboro Stingray may or may not be a crap amp, great name though, perhaps it would be a great name for a bass, oh hang on

[quote name='RAY AGAINST THE MACHINE' timestamp='1460632405' post='3027393'] I think the people seem to be more noisy than bands these days, ever since Sky Sports was brought into pubs . People are shouting st each other , when only a couple of inches away from each other . I know that doesn't help. Sorry I [/quote]try open mics, the noise of people talking drowns out the 'music' but there again that's why folk go to the pub I suppose

at £45ish (gak) new they're a real bargain, the fact there aren't many second hand ones says it all really

probably teaching my Granny to suck eggs but I've just found this https://www.zoom-na.com/sites/default/files/products/downloads/pdfs/E_B1on_B1Xon_FX-list_100.pdf loads more info on what the different effect settings are supposed to do. I've been really impressed by this pedal but it always been a bit of a mystery to me what all the knob twirling was actually doing

I only use my MIA precision, recently bought a Squire VM Jazz, used it for a couple of gigs, nothing wrong with it, but quickly decided I really only ever want a precision so moved it on

[quote name='chris_b' timestamp='1460456922' post='3025820'] These things only go to court if the guys being sued say up yours and think they can bluff it out. Intros and arrangements are not covered by copyright so can be used at will, as Andy Summers found out. . . . . [url="http://ultimateclassicrock.com/sting-puff-daddy-2000-a-day/"]http://ultimateclass...ddy-2000-a-day/[/url] [/quote]I believe it's the melody and the lyrics which are covered by copyright, could be wrong though

in an attempts to marry 2 similar threads, anybody know if the serial plagiariser Paul Weller has ever been sued?

[quote name='BassBus' timestamp='1460451164' post='3025744'] Yes! and as I posted in that thread I'm going to sue you. We could settle out of court of course. Couple of Jelly Babies suit you? (other children's sweets are available before I am accused of something) [/quote]done, shame other disputes cannot be settled so amicable

[quote name='CamdenRob' timestamp='1460450709' post='3025736'] This won't really be an issue going forward as no-one makes enough money from original music to warrant suing them... [/quote]that's true, never thought of that, I can copy other songs with impunity now

just seen the Stairway thread have I plagiarised it?

there was a news item on Radio 5 this morning about plagiarism, Led Zep are being sued over Stairway, I never realised the opening riff to In the City and Holidays in the Sun were the same, but when does inspiration become plagiarism? Paul Weller is a past master at ripping off intros but I don't know whether he's ever been sued, is it not enough just to copy a part of another song?

[quote name='gafbass02' timestamp='1460377543' post='3025094'] It's got that 'dammit I can't get loud enough' look about it [/quote]sussed!

[quote name='bassjim' timestamp='1460372519' post='3025004'] Its a long one so sit down and get comfy................. Pretty much every room = different eq for me. Also empty room at soundcheck will need something different to when there is an audience in it. Also volume of other band members and their eq in relation to where they are positioned ect ect. For example, this just gone weekend I was playing a 30th birtday party in a club that had a nice raised stage area but the rest of the main room was wooden floor and flat walls. If I boosted the lows on the amp..... (bass = passive with tone full up or just shy of full up. Pick ups from back to both to front depending on tune being played)..... with the room empty = boominess = dont boost the lows. Once the room filled with people = now safe to boost the lows cause they are soaking it up. Floor empties = more adjustment and so on. Mids and highs = change on the fly for same reasons as above. Also if the drummer gets suddenly over enthusiastic or maybe the gitard enevitably turns up, this will/could destroy a great tone because what was perfect at the previous volume has now changed. I may well turn up to compensate or wait till end of that number and wave to the offender, smile and point to the ground whilst mouthing "you are f***ing loud." and hope there is enough respect to turn it down. Or turn up and be louder. If you are standing almost on top of the amp what sounds right here is different to just a few feet away. You dont always get a few feet if its cramped for space so if someone says ..turn it up/down this could seem wrong from where you are standing so maybe go with that advise if you trust who is telling you this. All in all for most venues I havent played in before, if its a difficult room it could be tweaking as we go along. If its a known difficult venue, I know in advance its going to be a tweak night and just get over it. If its a good bass player friendly room, minimal eqing required, and the audience stays pretty much where they are...eg: packed pub it will be a good one. For my money its a case of know your gear, know your bass and know what you can expect to get out of it which also comes from experience of gigging a lot,like most weekends at least..... which may not help in the short term as this is not an easy one size fits all fix. How to use the gear effectively in all situations is as much the learning process of actually playing it I think because if you cant translate what you want to say live when ever possible no one will ever appreciate what you are putting into it. If its all going through a PA....rules have changed and now you need to........... you get the idea! Theres' soundcheck volume and then theres' mid gig volume. All band members are having their own personal issues with volume and tone along the way so sometimes its constantly evolving and sometimes its great from start to finish. EQing.........bass tone.......all a bit of a nightmare really.. All the above from personal experience over 30 years gigging. It works for me personally so if any of it helps...... [/quote]add to that a tone alters a lot as you get further away and without a sound engineer and a separate mixing desk you're relying on people you trust to advise you what you sound like, like you said a nightmare really

cheers for the imput guys, a few things to try, regarding booming, it's funny old thing, I get it worst when playing E on the A string

[quote name='SH73' timestamp='1460365249' post='3024910'] What works for you or for "we of the bass chat community" does not work for everyone. The OP does not state what venue the gig was at, carpet floor, pub furniture, stage layout, acoustics he. Therefore the guitarist in his band may have been correct with the settings. [/quote] as I stated before (in the middle of a post so easily missed) it was in a pub, in the corner of the room on a raised hard wood area, a difficult sound check with lots of hard surfaces for the sound to bounce off, then the sound altered as the room filled up

[quote name='Truckstop' timestamp='1460357987' post='3024837'] Personally I'd cut everything under 100hz to start with. With that 30hz equaliser flat you would have had a lot of boom and as such you had to really boost your hi mids to cut through it. Try it next time; cut everything under 100hz, get a tone for the room and then gradually introduce a little bit of 60hz to taste. It's a credit to TE though. I wish most amps were this flexible! I love my Rumble, but I wish there was an extra EQ knob or two [/quote]I've found that most boom (and I hate boom) comes from around 60hz, 30 doesn't seem to have much effect at all that's why it was flat, but what you say here is more or less what I was doing, the high end boost is really down to personal taste. What I aim for is the TE mid shape sound but less extreme, that is boost around 100 to 400hz, cut between 500 and 1khz and then boost around 5khz I've got a rumble and agree with you the EQ section is poor [quote name='xgsjx' timestamp='1460357043' post='3024826'] The other thing to take into account (which I'm surprised no one mentioned, including me), is the venue itself. I found that every venue I played, I had a slightly different EQ setting. Always tried to go as flat as possible, but at many venues, flat sounds crap. [/quote]I mentioned earlier it was a difficult venue sound wise