warwickhunt

The other obvious thing is that the Screw On (they aren't 'bolted' on) body is predrilled to accept the screws; it's not like they just stick 4 screws through a blank piece of timber into the neck!

'Easy' to find... you sure?

I looked at converting a bass to 12 and the neck size, rigidity aside, the cost of parts started to stack up. One of the big hurdles was sourcing a 12 string bridge as they aren't exactly an off the shelf item. Modifying other bridges needs to include the octave strings being intonated separate to the bass strings. One way to get round it is to buy a donor 12 string bass... Oh wait!

"I haven't ever tilted it or put it on a stand off the floor" Direct coupling with the floor is generally not a great thing any way as you often just get 'boom'. There is a point where boundary reinforcement is lost when lifting a bass cab/combo off the floor but tilting it or lifting it 12"-18" isn't going to harm/lose you bottom end.

Pinged you a message Kev.

I've used loads (and loads) of amps over the years and once you get above a 300 (genuine) watt rating, with a reasonable speaker array (210, 112 or 115... heck some good 110 cabs will cut it) you generally have enough power to be heard over an enthusiastic drummer; especially in a rehearsal room. However, what the guitarist(s) are doing, your EQ, room size/shape, cab positioning, drummer location etc can all affect how well you'll be heard. As others have said, you all need to be looking at ear protection, especially in small rehearsal spaces where you are playing with a drummer (cymbals destroy bass players ears). Get everyone else to turn down would be my starting point; the drummer playing at their comfortable level should be the loudest thing in the band, if you are drowning any of the drums out you are too loud... says the man who has been in many pitched battles with overly loud bandmates! LOL Oh and I had reason to use a Rumble 500 combo at a rehearsal room the other week and it was seriously loud when it was barely ticking over, so I don't think the gear is at fault unless it is set up incorrectly!

Come and pop in for a coffee mate... we have a pair of MS8000 into our X32 and it is sitting in my music room! MS8000 > 0.5m XLR/XLR to the X32 and the other outs to a 16 tailed loom/snake.

So what they are effectively saying is that if your bass is made solely from Paulownia (as some basses were) it isn't very good and lacks 'bass'! LOL Sorry but the tonewood thing is a minefield and while interesting, isn't the be all and end all. Some basses sound good despite being made of (what is considered) inferior types of material and some basses made of top quality materials can sound conversely poor. Personally if a bass body is made of wood it should be well seasoned and resonant... though it doesn't have to be so resonant (for me) that it rings too much.

I get it. At 61 (almost 2 years ago) I was thinking that it was getting to be too much (40+ years of gigging) but I joined a 'tribute' band at that point and I have to say I'm probably doing some of the best gigs with cracking musicians, better than I've ever done... still hard work and not the carefree life of me in my early years but I do love playing music live. Piano isn't that bad though as it has all of those low notes in it!

Ah ha! That makes sense. I sometimes see boards that have 5-6 'effects' + a Stomp and the effects are invariably available in the Stomp, which I find strange but each to their own. I bought into the Stomp idea as a means to do ALL of my tone shaping, effects, active crossover, IEM routing et al and so far it does 90% of it but little add on's like the Broughton and DiMarco pre, do lift the overall output in terms of richness of tone.

I'm always (genuinely) interested why folk add certain pedals to something like a Stomp, when that effect is likely replicated within the Stomp. Your Thumpinator in particular @cetera is effectively a HPF of which there are many in various stages of the Stomp... why the external Thumpinator? I should add that I've presently got a Broughton Resonant Filter Equalizer on my pedalboard instead of using the Stomp HPF/LPF, as the Broughton gives a bump at the filter point which is easier to tweak and sounds more musical than going into the Stomp and adding a para EQ to a HP/LP filter. Actually I'm also guilty of using an external GK800RB preamp pedal which I use instead of the Stomps GK block (which is actually a great simulation)! LOL