Count Bassy

Actually I quite like the look, and its a 30" scale. Now if only it was a fiver and considerably cheaper.

I agree with most people here. IMO the D'Addarios tend to be a bit too dull sounding and feel very sticky, which I guess is burrs left by the grinding process. Have since gone to the Status Hotwire half rounds; they are a bit brighter in tone and feel nice and smooth. They suit me far better, and are very reasonably priced (£25 for a set of five).

Add it up: PA + Foldback = 7Kw, + a kilowatt or so for back line. A 15 Kw Generator therefore leaves 7Kw for lighting. If LED lighting that's enormous, if traditional less enormous, but still a lot. Of course the PA crew are correct. 40Kw would be ample, but probably way over the top. It all hinges on the lighting, so you need details of that.

[quote name='alyctes' timestamp='1372720056' post='2129229'] I liked #8... I went to see a well-known folk-rocker last year, and I heard him say stuff I'd seen directly quoted in a newspaper review of a London gig a week earlier. IMO, that's going a little far with the choreography, Richard. [/quote] In theory I agree, but on the other hand if you're touring and gigging 3 times a week it must be difficult to stay fresh and spontaneous after 5 weeks.

[quote name='SpaceChick' timestamp='1372712407' post='2129119'] Book marked incase I ever make the big time About it break one though, the band are throwing around ideas for a medley! [/quote] [size=4]I quite like medleys, well not [/size]medleys[size=4] of whole songs, but I quite like it when there's the odd verse, or even single lines[/size][size=4] of another song thrown in, but the the transition must not be too slick and, as a general rule, the sequence must end back on the original song![/size] OK - I guess what I'm saying is; I like some medleys, but not others.

I bought one (used) to supplement my 505. Really like the natural ash body, and it has the mid frequency switch which the 505 (mine is an older one) doesn't. Absolutely love it, as I do the 505. The 505 has half rounds on it which I put on to try and tame it a bit. The 605 has rounds on and I'm liking it like that, doesn't seem quite as trebley as the 505, which suits me well. I don't find it at all heavy, but then when you're my weight a few extra pounds makes little difference. Superb instrument at a cracking good price.

[quote name='MoJo' timestamp='1372606272' post='2127610'] Just spent an hour doing my P bass only to discover that the foil I bought has non conductive adhesive DOH [/quote] Run some solder over the joints. Since the foil is so thin it heats up quickly, so the soldering is quick and easy. Also just to emphasise the thing about not leaving gaps. It wasn't too critical when you only had to worry about 50Hz hum, but with so many high frequency noise sources these days it's much more critical.

60,000? You could get a new one for less than that.

A very stormy Monday! Also he did the original of "Ain't no Love" I believe. Sad Day. RIP.

[quote name='bartelby' timestamp='1372080687' post='2121299'] I'd go for the Octavia estate. The new version is out soon with a bigger boot. Have you thought of the Suberb estate? That thing is massive inside. If the 159 is anything like the 156 then the boot opening was quite small and an odd shape. The Octavia and the A4 are basically the same car (as is the Passat) and a BMW is a BMW (no indicators, difficulty staying in lanes...) [/quote] I've currently got a Peugeot 807 which is immense (Something like 2900 Litres with the seats out.) However looks like I'll be getting a company car soon and the Skoda Superb looks like a front runner (1865 litres with the seats down) Sounds like a big difference from the 807, but in practice,when loading the PA & gear you very rarely can use the full height of the 807, so the practical difference might not be so much. Anyone got any experience of the Superb.?

I know you're sorted now, but if you built the bass you must have offcuts of the original blank, and some sandpaper, hanging around?

Buy an Ibanez 505/605 etc. and spend the £2500 change on drink.

[quote name='ead' timestamp='1371917473' post='2119591'] Big fan of the Tascam bass trainer, I have the MP3 version. [/quote] +1, or the Tascam GT-R1, which has basic rhythms, and allows you to record (but costs more than the MB-BT1).

My fiancée came in to Crown Imperial (William Walton), and we left together to Vidor's [color=#333333][font=arial, sans-serif][size=3]Toccata from the Fifth Organ Symphony in F, Op 42 #1.[/size][/font][/color]

[quote name='Chiliwailer' timestamp='1371541425' post='2115114'] I saw Neil in London last night. It was spiritual. The chemistry and grooves were hypnotic, these guys are in their late 60's and yet played like it was 1978. All through the gig folks were walking out, shame they didn't understand what to expect from Crazy Horse. But to real appreciators of honest music [b]it doesn't matter what Neil plays, it just matters that he plays.[/b] So for those who left / complained - you know where to buy a Greatest Hits CD. Much love to Neil and Crazy Horse, absolute magic. [/quote] Yep, it really amazes me when audience members expect a concert to be a greatest hits event. Perhaps those audience members haven't moved on/progressed, but the artists generally have. As you imply, if you want to hear the hits as you remember them, buy the CD.

Time to wrap this thread up.

[quote name='3below' timestamp='1371415213' post='2113715'] Barefaced cab = excellent, I have owned two (still have one). Shermann Audio built me a 3 way bass cab (think Barefaced big one / fearful 15/6/1), again excellent quality from a long established British manufacturer. Start saving and get an original Hiwatt or have a clone made. It will last a lifetime. Shermann would build a 'wide' cabinet. [/quote] I didn't know Shermann did bass cabs, but I've got a couple of their (oldish) PA cabs and they're brilliant.

From the age of 6 to 14 I lived in Lincolnshire, and this was 1963 - 71 when the Vulcans (and Victors) were in their heyday (and the main nuclear deterrent). Probably saw Vulcans going over at least once a week (Victors less so). One day a solitary Vulcan came over really low over the house. Awe inspiring, but absolutely deafening (serious hands over ears loud). I'm sure I could see the pilot (but it was a long time ago). On another occasion they were moving the main Vulcan/Victor fleet, from one base (Conningsby??) to another, and in one day had four or five formations of 5 or 7 come over. High up this time, but still awe inspiring. Experiences that will be with me until my brain stops.

[quote name='MiltyG565' timestamp='1371338543' post='2112825'] [size=4]What I was saying (and this must be the third or fourth time I've said it in this thread alone) was that he had the creative freedom to position whatever pickups he wanted, wherever he wanted,[/size] [/quote] And that is exactly what he's done. He decided that on his signature bass he wanted to have those pick ups with the ability to adjust the positions. Anyone is perfectly entitled to say "that's not what I'd have done" or " I don't like that", but not to say (to him) "you should have done this that and the other".

[quote name='MiltyG565' timestamp='1371331825' post='2112742'] I like how it looks, and it's not a bad idea, really, and it sounds pretty good too, I just don't think that's what a signature bass should be about. [/quote] In that case I look forward to your signature bass when you become well known enough to have one. Surely the whole point it is [u][b]his[/b][/u] signature bass, and as such it's not for anyone else to tell him what it should be like.

[quote name='xilddx' timestamp='1371200416' post='2111042'] It's not an innovation, it has practical difficulties in that you'll have to remember where those pups were placed to attempt tone replication in the future (strip of tape and a chinagraph above that hole?) Beyond the first month I bet those pups get set and left where they are. [/quote]` If you can remember where your controls on a bass and the controls on the amp are set for the sound you want I wouldn't see remembering the position of two pickups presenting any great problem. I love the range of sounds it allows (OK, the man's playing might help with that a bit), and I like the overall look. I'm not too bothered by the hole, but the making the visible rail black instead of natural would help, or they might paint the inside of the hole something other than black. At the end of the day it's a tool, so function above looks all the way for me. If there were five string 'rockbass' version for less than a grand, and if I had the talent to justify it then I'd be very tempted (two very big ifs).

In no particular order: Andy Fraser Gary Twigg Neil Murray Jerome Rimson Jack Bruce Flynn Whelan Boz Burrell Norman Watt-Roy Roger Glover John Paul Jones ... Could be different tomorrow ...... Actually I need to put Peter Stroud in there somewhere, so probably take out Roger Glover (Sorry Roger)

[quote name='LemonCello' timestamp='1371051394' post='2109169'] He came right back with a swift retort along the lines "I'm gonna play what I like" which in turn led to some people leaving early. [/quote] Wasn't there (my brother was) but bloody good for him!

[quote name='pete.young' timestamp='1370889522' post='2107023'] Tascam MP-BT1 [/quote] Or the Tascam GTR1. I used to use (and still have) a MP-BT1 and used it regularly until I got the GTR-1. GTR1 has basic rhythms in it as well, and can record etc, but if you don't want those then MP-BT1 is great (and cheaper).

Personally (and your view may vary) I can't see much point in having an instrument too valuable or delicate to play at a gig (I don't have the distraction of studio work), though the degree of watchfulness obviously varies with the value/replaceability of the instrument. That's relatively easy to say for my basses, the most expensive being around £600 second hand, though not readily replaceable (US Fender Urge Mk1). However I can say that I take the same attitude with my anglo concertina which would cost many times that to replace (if I could find one), and is eminently stealable. Actually having thought about this makes me realise how cheap playing (electric) bass is relative to some instruments. For well under 1K you can get a bass that will hold its own in the most demanding of professional situations. I don't think there are many conventional (non electric) instruments for which you could say that.