PaulWarning

[quote name='BigRedX' timestamp='1453025400' post='2955534'] Because a hard case isn't much use if you have a 30 minute walk to your rehearsal or you travel a lot with your bass on public transport. It's all about having the right case for the job. Sometimes you need a gig bag, sometimes a hard case and sometimes only a full flight case will do. [/quote]I thought about that after I posted, I always use a car, so there's my answer

you can get a hard case for £30 - £40, would offer better protection, is there a reason people go for gig bags instead?

isolate the guitarist's sound, turn his cab away or something, or position your cab right next to him, so it's mostly just you the drummer can hear, then see what happens, having said that it's better the drummer is speeding up, I've played with a couple that slowed down, bloody awful

[quote name='brensabre79' timestamp='1452879115' post='2954421'] Shouldn't be, I have exactly that myself. Love the VM necks EDIT: Just check the shape of the end of the neck against the cavity on the body, they should be the same shape but there were a few variations (on the Fender body side) depending on what you have. [/quote]cheers, I'll have a look, didn't want to mess about with it if there was no chance of it fitting

yes I think that's the yardstick I would use, if there's no chance of seeing the original band, the Bootleg Beatles for instance, I've no problem at all with them, but I do feel a little uneasy about Green Day tributes

[quote name='wateroftyne' timestamp='1452866718' post='2954241'] They could also - and I appreciate this is a radical concept - arrange their own festival, only featuring bands that play original material. [/quote]chances are that not as many people would turn up though, festivals are organised to make money, we're slaves to the paying public

is it any worse than Fender or Rickenbacker copies or whatever, you're getting an inferior product cheaper than the real thing, you pays your money you take your choice, and occasionally you'll get a bargain, nearly as good as the real thing for less money

just bought a Squier VM Jazz (lefty) and I have to say I'm very impressed, but I still think I'll prefer the thump of my MIA P but I do like the narrow maple neck of the Jazz, any problems I'll run into if I swap them over?

never really got Bowie when he split with Mick Ronson

just got a B1on and having played around with it for about a week, I only use the distortion, amp sim and EQ effects and I still prefer my old Zoom 506II, it seems to have a clearer sound to my ears. Am I over simplifying things to say that basically these pedals are distortion, EQ and delay the rest is just presets?apart from the drum machine, looper etc

has anybody mentioned How Long by Ace? well I always recognise it

he's still got 100% feedback, his descriptions may be flowery but they don't contain any untruths, I do wonder if his day job is an Estate Agent

I just use bloody great washers on my existing buttons and never take the strap off, but I've only got 2 basses and 2 straps

yeah, I don't know how much he played or composed the bass lines on the Clash records, bass lines like Guns of Brixton make you realise that a simple repetitive bassline can make a song, and I still can't play London Calling properly, I have to cheat, sliding up to the E on the A string then playing the fast on off triplet on the G is beyond me

[url="https://www.facebook.com/coverbandcentral/photos/a.321423671341565.1073741828.306947782789154/543427442474519/?type=3&theater"]https://www.facebook...?type=3[/url] agree? our new drummers a tad to busy for me, but I'm getting used to it, always thought our old drummer was just right, when we tried to get a gig recently at a venue we'd played before the owner said "have you got rid of the crap drummer then?" just goes to show, what do I know?

the only story I've got about the body effecting sound is the case of J J Burnels famous green P with which he got the early Stranglers bass sound, it split when he was banging it to get feedback at a gig, he had it repaired and it was never the same again, he's since tried hundreds of P's and never found another one that got that 'sound', so presumable it was a fault in the wood that made it sound like that.

[quote name='JTUK' timestamp='1451845597' post='2943970'] Too many pubs and bands doing music anyway...which is what keeps the price down. The market is saturated and I've always said doing away with the license was a short sighted move.. There is no premium for it... when music is so cheap and plentiful. [/quote]I think we may have had this discussion before, we'll have to agree to differ on this one

[quote name='JTUK' timestamp='1451843737' post='2943944'] Some pubs are too small for music... and bands should accept that and so should the pub itself. I'd say something like 50mtr2 is a minimum..for the room, not including bar...so they either shouldn't get a license...(which is a good reason for having them back, IMO) and they can't really afford bands anyway..in any sense..!! [/quote]then we wouldn't have hardly anywhere to gig, plus it's a lot more fun playing to a crowded small room than a half empty big one

[quote name='discreet' timestamp='1451842091' post='2943915'] As has been said many times on this forum, a good drummer can moderate his own levels and can always play with hotrods or whatever, but in the real world the majority of bands do not have a drummer with the necessary skills to do this. So generally yes, the levels are set according to the level of acoustic drums - which is reasonable, as long as the drummer isn't a shed-builder. What I don't get are pub bands who insist on micing up the drums as if at a large club, which means the whole band is way over the top volume-wise. What the hell is that all about? [/quote]agreed, our drummer and a lot others enjoy hitting things hard, it's what they do, saw a band last night where the drummer miced up the kit in a pub, the prominent sound was a thudding bass drum, totally unnecessary

you have to set levels according to the drummer, our drummer is fairly loud (he's not miced up) then the rest of us set volumes accordingly, which means in a small pub venue we are loud, but hey it's rock and roll

I can see the logic here, I always set mine and the bands volume without ear plugs then put them in, it certainly tempting to fiddle with the eq and volume with ear plugs in. but just take them out for a second and hear the difference, and yes I have got custom ear plugs at £125

I just play along to the song, I use my computer, audacity (to slow it down in the early days) and headphones, most songs consist of 3 or 4 sections repeated, once they've stuck it doesn't take much to get them back again

[quote name='EliasMooseblaster' timestamp='1451680661' post='2942472'] It is that, and I certainly wouldn't say the original configuration sounded bad. Mainly I just imagine it would be nice to have a bit more growl on the lower notes, and a slightly more rounded tone on the higher ones. I've never actually tried one with a reversed pickup, but I gather that Hoppus bass was very well-received at a bass bash recently. [/quote]one answer would be to use a left handed P flip it and change the strings round, or, being a lefty myself I'm sure the reverse has been done numerous times, has anybody noticed the effect, if any, it has?

never really thought about the P having the pick ups 'the wrong way round', I'm sure Leo had his reasons and it isn't something he did accidentally, seems to work ok, it is the best selling bass, in the world.

[quote name='mcnach' timestamp='1451566165' post='2941566'] +1 Listening to isolated bass tracks is very enlightening indeed. You're right, quite often the sound of the bass alone is not very pleasant, yet it sounds glorious in the mix. It's amazing with a tiny bit of overdrive can do. A lot of 'clean bass' sounds are actually softly overdriven, if you listen to the isolated bass track... to the OP: I doubt you sounded sh*t. That guy probably just likes more overdrive than you do. I'd experiment with some overdrive perhaps at rehearsals and see what it feels like, for fun, but don't feel like there's something wrong with your clean tone. Clean works too. Just saying clean vs overdriven means little... you can sound very good in classic rock by playing clean too, it's all in the EQ. [/quote]]I hate listening to my bass tracks in isolation, good God I sound bad, better with a bit of overdrive in there, but that's just me. Slightly OP, but sort of relevant, saw a quote form the sadly departed Lemmy (may have been on here) Lemmy to the sound engineer "Can you hear that horrible noise coming out of my monitor" Sound engineer "No Lemmy", "Neither can I turn the f***er up"