warwickhunt

Indeed but tbh the roadworn sunburst isn't getting the use it deserves since I got the gold one!

I couldn't find a JJ pup config on a P style body so I actually had a VS professionally routed for the TT pup config. I can revert the neck pup back to P and have the scratchplate to match.

My Sandberg 'Wall of shame'!

£150 for a practice tool... I'm sure there are lots of options that do the same thing (maybe not as well but it is to practice with... does it need to be that good?) for a lot less money. I'm not about to throw out my Mooer Prime P1.

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

@BigRedX interesting as I've just been messing around further and based on purely my preference I tweaked the split point and settled on about 340Hz; came back on here and you've said 320Hz. I then wondered if there was a mathematical reason for this area of the frequency spectrum, so I Googled 'frequency musical notes' and this area is around the 4th octave of 'E'.

Messing about with adding a bit of grit / overdrive to my signal, got me to thinking is there a 'best' frequency/frequencies to set a crossover at, if you indeed use one! Context - using a 12 string bass I wanted to add a bit of drive/grit to the upper registers of my signal but not ALL of the signal (to avoid mush). I'm doing this through an HX Stomp so it is very easy to create two pathways and place an OD in 1 pathway and leave a 2nd pathway unaffected to maintain a clean signal. The use of a frequency split to create the 2 paths means that I can choose above what frequency point to send the the highs to add grit (I'll call it grit as opposed to Overdrive as I don't want full on distortion/fuzz). Everything can then be blended back together to send to a mono out OR I can send the high/affected sounds to the effects send and the unaffected to the main out; potential to put the high register through a different amp/cab combo but that's not priority as I'm getting a good blended mono signal as is. Obviously too low a frequency and I get mush, too high and there's not much effect. Initially I was sweeping between 100Hz and 1.2kHz but the sweet spot seemed to be 400-800Hz. Which lead me to start considering the frequency spectrum and fundamentals, octaves, overtones etc. Through the amp/cab I used and at the volumes I was listening, there didn't seem to be much difference in my chosen frequency band. I think I'm going to set the split to 400Hz but has anyone found a sweetspot that worked or reasons not to choose certain crossover points and why... indeed if anyone cared? LOL

Strange bass gig for me! INXS UK seated in a little sold out gig playing a rubber band bass Uke! https://www.facebook.com/share/v/1Cqb8hgpFP/

I considered a column/stick style system for a duo and a trio that I play guitar in (forgive me). However, the trials I had were never satisfactory; generally the systems were reaching max to be heard in small noisy environments (you only need one or two noisy tables/groups). I then tried a pair of RCF310 speakers on poles and found them way more effective, in fact we often just used a single cab on a pole/stand. I subsequently upgraded to a pair of QSCK10 speakers (used) and I literally never need to use a 2nd speaker. We do take 2 along but the 2nd one generally just gets placed on the floor as a monitor for us (fed with the same output as the FOH but simply turned down at the speaker). The added advantage is that the QSC K10 (or similar) speakers are perfect to pair with a small sub for use with a 4-5 piece loud band, in most pub/club situations!

To save me scrolling through, do you know what Line 6 call it?