TheRev

Hello by Lionel Richie, but done like this: http://youtu.be/oI0d-kOxb4A

Yep, 5 of my allotted now gone..... Is it fame if no-one knows who you are?

You're welcome mate. It is a beautiful track, but I'm just aware of how may time I've posted/raved about it. I couldn't agree more about the loose vs metronomic argument. One of the best (i.e. my favourite) recordings of my jazz/soul trio was done on a camcorder at our second gig. We're all still feeling our way through the arrangements and we're all a bit scared, with the result that we're actually taking time to listen to what each other are playing. Solos were give space and support, there was loads of space, giving an atmospheric sound and there was time to think about what notes you wanted to play next and, more importantly, time to decide where you wanted to play them. Our next recoring was in a studio where the singer was at the controls with very definite ideas about how everything should sound. The result was a highly polished, muscially adept, souless and unemotional collection of songs that were completley devoid of dynamics and very, very boring to listen to.

Exactly. A perfect example of two musicians actually listening to each other.

The lack of an XLR out is a bit of a pain - how have you got around it?

Ah, bugger it. I said I wouldn't post this for the umpteenth time, but I love everything about this version of Solid air. The languid pace, the interaction between John Martyn and Danny Thompson and the beautifully phrased solo (from about 3 minutes in) with all those lovely harmonics and slides. I've spent days working on some of the elements from this solo and still not got anywhere near anything as musical sounding as this. Still, good to have something to work towards, eh? [media]http://youtu.be/ohmSPv-rtSQ[/media]

[quote name='randythoades' timestamp='1386060657' post='2295048'] I think that the EUB has real benefits for home practice, portability, no feedback etc and does offer a taste of the upright bass without the initial cost and is less intimidating. [/quote] I started out with the exact same reasoning. My first EUB (Aria) cost me £500, my second cost £2000. My first double bass cost me £800 and my second £600. I'm not saying that you shouldn't get a EUB, just saying that EUB isnt necessarily the cheap option! You should choose the path that suits you, but one way or another your journey will end with a big curvy wooden box..... P.s. you soon get used to lugging them around.

Sorry - double post.

30 minutes of freezing our arses off for 5 seconds of footage, most of which was our mate in the badger suit.....

The K&M stand allows (in fact demands) that the endpin is extended.

There are member's band links in the 'live photos and videos' subforum in the Gigs forum.

What about one of these? [url="http://www.thomann.de/gb/shadow_shb1.htm"]http://www.thomann.de/gb/shadow_shb1.htm[/url] About as cheap as it gets. Our banjist uses a Kavanjo pickup ([url="http://www.kavanjo.com/"]http://www.kavanjo.com/[/url]) which is great, but probably way more than you want to spend.

Blimey Geoff, you're really racking up the content! No gig tonight and Mrs Rev is out, so an evening spent walking and soloing is in order I think.

I was considering trying it with some double sided industrial strength sticky tape..I did try it in the bridge wings, wedged in with some wooden shims, but that was horribly scratchy and hollow sounding. The Fishman website says it has a 10MOhm impedance, which matches the input of om the Plat Pro Plus and my Headway pre, but to my ears it had a better sound just going straight into the 1MOhm input of the EA Doubler. As I said, it sounded fine at home and in rehearsal, but at gig volume, (especially halfway through the second set where the PA volume starts to creep up) it became really middly and hollow sounding with no low end - perhaps that's where the preamp would have come in useful? I've got a Bassmax in there at the moment and I'll fit a Realist at the weekend, so plenty of options to be going on with!

My new bass came with a BP100 attached. It sounded fine at low volumes and in rehearsal but at gig volume there were a lot of overbearing harsh mids in the sound. Not a fan of this one.

[quote name='alexpea' timestamp='1385476749' post='2288678'] Blue Lagoon? [/quote] Yep! I'm hoping they'll keep that backdrop after they knock through to next door.

Piccie of the first outing on Friday night: The BP100 pickup was, er, challenging to work with to say the least. I did manage to get a workable sound by judicious use of the noth filter on my amp but it was just that - workable. About three numbers from the end of the gig I remembered that I had slipped my Bassmax pickup into the gig bag 'just in case'...... Numpty. To make up for for being such an idiot I spent most of Sunday playing along with Danny Thompson recordings.

Yep, the Doubler will do exactly what you need. I never leave for a gig without my Fidhman preamp but I've never needed it with the Doubler, I just plug straight into channel 2 and away I go. I've not tried a GK MB cab, but double bass speaker cab design has moved on a lot in the last 5 years and i suspect that you'd get a much better sound with a Doubler paired with a modern, DB voiced cab like one of EA's Wizzy cabs. You should also look into some of Mike Arnapol's cab designs (he co-designed the Doubler amp), either the Greenboy/Arnapol Crazy 8 ([url="http://www.gigmaster.biz/gigmaster_soundworks_v3_007.htm"]http://www.gigmaster.biz/gigmaster_soundworks_v3_007.htm[/url]) or the BigE MAS45 ([url="http://www.gigmaster.biz/gigmaster_soundworks_v3_007.htm"]http://www.gigmaster.biz/gigmaster_soundworks_v3_007.htm[/url]) I have a BigE MAS45 and it's frankly amazing - light, clear and loud.

Now with Kipperwig. I definitley enjoyed the last two gigs i did with them. It would have been nice to hold on to them for another month, especially now I have a new bass to try them on! Despite my limited arco ability I found the prototypes to be a very capable hybrid string. The pizz tone was on the bright side of 'old school' if that makes sense! Solid fundamental with enough harmonic overtones to to please steel string players I reckon. The E string in particular is great - nice big solid 'F' and probably the loudest string I've ever played. They're easy to get going under the bow (quite an achivement for an arco idiot like me) and sound pretty warm to my ears. But, now I have my trusty Rockabillys back on, I realise that what I really, really love about them is the 'bounce' I can get from them with my right hand - it's just not possible with higher tension strings. I think I'll stop trying different strings on this bass (the 50s Ply) - for Johnny Cash-esque thumpery, the Rockabillys are just perfect. I will definitley try the hybrids on my new carved bass when they go into production.

Yep, I have one. The first time i used it I felt it was underpowered and lacked tonal character. Then I realised that the lack of tonal character was actually transparency and that you can set the max input gain using a little trim pot to match the output of your pickup. Now have no problem with volume and I still use a LMII as my main amp as it's a solid lump and I know exactly how I like it set. The EA feels a bit more fragile and has a more nuanced EQ, so while it's maybe not ideal for rockabilly, it's very good at jazz and folky stuff. The more I use it, the more I like it.

I don't have this problem with my current band as three of us turn up in the same car, plus the drummer likes to have my bass rig as close to him as possible so he always leaves enough room for me. I was once in a band where everyone would arrive and set up their own gear, leaving me to set up the PA around them. I'd be constanty be hassled for a spare mic lead or stand while struggling by myself to lift a 15" cab onto a speaker stand and by the time I'd finished the PA and started to set up my bass gear, I'd find the harmonica player's fecking massive Fender bassman combo plonked exactly where I'd need to stand. There'd be enough room for my rig or me (plus double bass) but not both. I'd get helpful suggestions like 'put your amp on the other side of the stage and you stad on this side' or 'put your amp on the stage and you stand on the floor in front of the door to the toilets'. I did once suggest that the harmonica amp gop on the same side as the guitarists (30W 12" valve combo) amp, but apparently the guitarist didn't want that as he wouldn't be able to hear himself over the harmonica. Not sure why this woudn't be a problem for me.... I was also once in a band with a guitrist who would think nothing of unplugging my amp so he could plug his in.

[quote name='fatgoogle' timestamp='1385054975' post='2283957'] Nice bass. Does it have an oversized headstock? [/quote] Erm, I don't think so. The scroll is the same size as the scroll on my other bass.

[quote name='alexpea' timestamp='1385042806' post='2283752'] Lol not the quiver, I think the what i was looking at could just be a reflection tbh [/quote] Ah - You mean the little rectangle on the bridge foot? It's a little clip-on tuner!

[quote name='stingrayPete1977' timestamp='1384982344' post='2283198'] Just had a poke around the f holes and it's hard to say, the centre is quite curved and fairly thin behind the bridge area which would suggest pressed from a single sheet but the edges feel like a different contour from the front more consistent with it bring scooped out for want of a better term? Just checked on the gedo site and they are listed as half carved but maybe one mans carved is another mans as long as it's not ply and has been carved after pressing for it's final fit? [/quote] If Gedo say it's half carved then, as Alexpea says, it means that the top is carved but the back and sides are laminate. I gave mine a good probing last night and i think I can fell tooling marks, which suggests that the top is indeed carved. I also checked out a couple of bass carving vids on youtube and they do carve a hollow under the bridge area. [quote name='yanto' timestamp='1385024142' post='2283456'] I've got one exactly the same but paid £1200! £586 just p****s me off Enjoy it [/quote] Blimey - you've done a bit of detective work! Yes, I did get a bit of a bargain , but I have been keeping an eye out for a carved bass for almost a year! [quote name='alexpea' timestamp='1385028027' post='2283502'] Nice bass Rev, whats that black rectangle thing that looks like its bolted to the belly under the bridge? [/quote] Cheers! The rectangular thing is a bow quiver. It's actually tied to the tailpiece. [quote name='sarah thomas' timestamp='1384968416' post='2282942'] NIce one! Let us know how she sounds. [/quote] Rather good as it happens. I took it to rehearsal with my jazz/soul trio last night. I normally use my Eminence EUB with this band, but I thought I'd bring the newbie along to see how I got on with it....and I played it for the whole of the rehearsal. Tons of depth and presence on the D & G- I could even hear what I was playing in the my solos. This seemed like a good thing until I realised that I could now clearly hear how ropey my intonation was. The BP100 pickup is OK, not brilliant but not awful either. It's definitley giggable but I think I'll be trying a few different pickups as there is a bit of an annoying mid-honk that I couldn't EQ out. I enjoyed playing it so much at the rehearsal that I've decided to use it on my gig tomorrow night.

Aa I understand it, a carved top will be thicker in the middle than at the edges. If the top is significantly curved on the underside then it's probably been pressed.