warwickhunt

In my 45+ years of playing bass and buying them, I've rarely (not saying it doesn't happen) seen a retailer that will specifically set up a bass for a customer... and that is new instruments never mind used. I know of a couple of bass specific retailers who say this in their info but without a customer sitting next to the guy setting it up, I don't know how that is achieved. To answer the OP - all frets wear but Warwick frets do better than most but be aware that they are a wide(ish) low(ish) fret when new and some folk used to tall skinny frets can get jittery and think they are in need of a refret; as a generalisation, if the bass plays OK, leave them. Barrels are £5 - £10 so no big deal and if it is 30 years old it'll likely have been done any way. Electronics are standard and shouldn't be an issue. However, check the preamp works OK as 'sometimes' they can die but if it operates normally don't worry about it. Battery compartment lid WILL be broken but a strip of gaffa sorts it. Truss rod shouldn't be an issue as shonky ones should all be sorted by now but worth looking at the nut/adjuster to be sure someone hasn't been chewing away and rounded it with a non metric key.

You'd like to hope they would. I had an experience where the engineer wouldn't take my amp DI (a good DI btw) as he wanted a clean unadulterated signal to work with... I tried pointing out we were a Cheap Trick tribute band and my effects/amp inc valve amp overdrive etc were to recreate a specific bass tone. He wasn't happy but he was being paid by the venue to do the sound for us not him.

I have a Ditto Looper (but tbh it is redundant as I have one built into my Plethora X5) and it is simple to use, you just need to get used to how many times you are tapping it.

Jeepers! That kind of talk will get you removed from BC... the system would break if we only bought from 'local people'!

With regards to maxing volumes - Will you not have various stages where you can adjust the gain to get the volume right? I have the desk, my 'Rolls' mini-mixer and my P2 or Lekato wireless at which I can set levels; I seem to have headroom on all of these points and never lack for volume. I realise we all use different gear but I thought the sensitivity of the Sennheiser IE100 were comparable... I maybe need to research.

Interesting. I find my IE100's less fatiguing and with better isolation I can easily get a comfortable level/balance; I generally stand 2ft from the drummer and I'm well isolated from that racket and I don't need to push the volume.

Yep, pretty much all of these + Me - "Hi. I'm the dep bass player". Band - "Eh!" "What?" "Nobody told me we were using a dep tonight." Me - "Hello". Drummer (setting up) - "Hi, I'm your dep tonight and I got here early" Me - "...no I'm the dep!". Turns out we were both deps... in a 3 piece! The best one was turning up for a dep and finding (yet again) that the drummer is also a dep that night, no probs as I know his reputation and I know he is a top player. We are 5 mins from first song when I asked if the drummer or guitarist would be bringing in the first number. At this point there is a brief discussion during which we established the vocalist had given the drummer the sets and the guitarist had given me the sets... and the sets did NOT contain the same songs (don't ask)! We wound our way through the first set avoiding looking like amateurs (compliments at the end of the night from people who had seen the band many times), inc songs where one of us might have had slightly less than 100% knowledge of the number. Only butt clenching moment was when the guitarist got carried away and segued into a song that neither the drummer or I knew. We had both at least heard the song so we had an idea but I spent most of the first verse and chorus with my eyes locked on the guitarist's hand for clues for chord progressions. The 2nd set consisted of many numbers that weren't on EITHER of our lists but all four of us knew and they were busked live! I love depping but I defo pin folk down to minutiae of detail and leave no question unasked and if I get the impression they aren't of a very good calibre, I politely refuse.

I'm sure you have reasons for sticking with the KZs but just in case you hadn't considered... The Sennheiser IE100 are within that price band (£82) and I've found them far more comfortable, better isolating and a nice tone than the KZ10s that I also own. https://www.amazon.co.uk/Sennheiser-Ear-Monitoring-Headphones-Clear/dp/B096FJBM7B?source=ps-sl-shoppingads-lpcontext&ref_=fplfs&psc=1&smid=A3P5ROKL5A1OLE

KENT so nowhere near me then! LOL

Where is it? Is there an established BCer could liaise? If it is the NE I can help.

Done.

Gear stripped down, collect fee, pack vehicle and drive home... pretty much exactly as it happened!

12 year old thread... that might be a record!

£34?

We tend to set up with FOH PA cabs slightly 'toe-in' to spread the sound to audience but not so far that they bleed onto the band area/vocal mics. Toe-in so that sound is also less reflected off side walls and beamed more at the audience... if that makes sense.

I don't actually use the loop out as I don't want the parallel 'spur' coming back into the Tonebone. It goes from the tuner out, to the other pedals and from the out of the last pedal to a separate input on the amp (as opposed to summed back into the Tonebone). No earthing issues when I did try the loop however.

Looks chaotic but I'm trialling ideas with pedals in my arsenal. I'm wanting to get an early Cheap Trick/Tom Petersson tone, which was achieved with valve guitar amp set ups. I'm also trying to introduce the illusion of 12 string bass but that is secondary. Tonebone (splitter) / Fishman Platinum Pro (HPF/tuner) / TC Bright Spark (Drive) / TC Plethora X5 (effects) > Tech Soundsystems Blackcat amp. I'm using the Tonebone to send the output straight to the front input of the ampamp, whilst taking a parallel out (from the Tonebone tuner out) to the Fishman and effects. The Fishman has a HPF which I have maxxed out so that this parallel signal has as little bottom end as possible; I have the option to EQ this signal but not found it necessary yet. The signal then goes to either the Plethora (for Chorus+Octave or Flanger and the option of the Spectracomp Compression) first and then the Bright Spark or vice versa... unsure if I have a preference for which first/last. The output from here goes to the rear of the amp where there is an attenuated input which I can decide how much of this affected signal is bled in. The good thing is the the effected signal volume/blend can be adjusted from the Fishman and/or the adjustment on the amp rear and it is not affected by increases in preamp gain or output gain. Turning up the input gain gets me more of the 'clean' signal without adding the effected chain.

I deconstructed a leather sofa (destined for the tip on FB Marketplace), I drew out a 'net' of what I needed and my (clever) wife stitched me a slip cover for my cab. Looks superb and very hardwearing. I did consider offering up a service to BCers to make bespoke covers all made from recycled/upcycled materials such as leather but tbh the hours that go into sourcing, deconstructing, constructing... not even accounting for the time it would take to liaise with buyers to get the correct sizes, makes cost prohibitive.

Same strings on basses with identical scale lengths should be no different in tension. Could it be strap length/bass height/wrist angle related hence putting your fingers at a different angle?

@GremlinAndy?

I use the Fishman Platinum Pro for a multitude of uses, not just straight preamp or DI and they are very versatile; find one 2nd hand (I did and a 'wanted' advert on BC can be useful) and you won't regret it.