bigjohn

My bass now looks like this...

This is an old photo - I didn't even take it It's now got ivory pup covers and no chrome one.

I've got a 6 string squire Katana if anyone wants to take it off my hands in return for some cash...

hmmm.... Another in the diamond blue series. Very, very nice amps. They like "6SL7" tubes as well. Which were used in the B12N and B15N.

I've got a 1212L and use it with an ampeg SVTII pre and 1.2KW power amp (although the cab is modded to take 2 inputs) . It sounds great Though I've had to learn to play with soft fingers... I've used a couple of diff heads with it. I did like the GK RBII I tried with it - but it didn't have anywhere near the evenness in response I can get with my rig. My 1212 sounds more like the 6x10s I've used with my PA/Pre now it's split stereo. Not used a LM at all ever. Aren't the thunderfunks supposed to be good with them too? I'd be interested about the TC 450s. I reckon they'd have the headroom and good tone shaping. Alhtough I've had some bad experiences with D class amps.

I think you should look for two things... One to coat the marker with no solvents in. Two to coat the first coat with a harder outer skin. Rather than looking for a one can sprays all...

[quote name='Fat Rich' post='977871' date='Oct 4 2010, 11:45 PM']They're '62 reissues so they don't have any access slots, but I learnt from Bernie Goodfellow at the London Bass Bash that I can loosen the neck bolts and tilt the neck out of the pocket enough to get to the truss rod without completely removing the neck. Still means slackening all the strings though and guessing how much to adjust.[/quote] Aye. My '65 reissue is the same.

He's a complete knob. He's not even funny with it.

it goes... duh da du dah du dah da dudu du dah... The rest you can make up

I find the thinner neck profiles on jazzes can cramp my hands. The thicker not so. For me it's not the width at the nut that causes problems.

I've got a passive MIM Precision Special Deluxe but you aint having it! These are the best I reckon for your price range. MIA electrics and pups. They're a quite a bit rarer than the active ones though.

This is something I've thought about a lot. I've drawn the conclusion that most bands don't make any money and are loathed to any spend money at all on a website. Especially when there's facebook / myspace / reverbnation etc etc... Signed bands have management companies that have contacts with design agencies who do their websites. From the couple I've been approached by - there's not a great deal of money in this. They want top end and want it virtually or totally free. They expect you to monetise the kudos gleaned from helping make their band a success, or from creating the website for an already successful band. It's very similar to the fashion industry in this way. It's vanity work. Function bands is where your market would be, like any small business they should be willing to pay for website that pays itself by facilitating more / better paid gigs. I think you should try to estimate just how many bands there are out there that would benefit - and what percentage of those bands you'd have to get on board to make it worthwhile doing and then asking if that percentage is realistic.

Nice monitors. 0.22 dot pitch and upto 120hz refresh. If anyone can make use of these, please do. It would be shame to take them to the tip. I'm in Nottingham - Loughborough area. Not far from the M1.

I wrecked a set of TIs putting them string though. They lasted about 10 minutes.

Until my line is committed to muscle memory or I'm completely au fait with the structure and key/changes involved in a song I tend to find myself "improvising" quite a lot! I do think there's a distinction though between improvising (trying to do something different with I piece I know) and improvising (trying to do something that fits a piece I don't) - they're two different skills.

I use masking tape and wire wool if my frets are particularly bad. Otherwise I use a thin plastic card which has got a fret sized hole cut in it and wire wool. I use Dunlop 65 lemon oil. Or beeswax on a maple board. These are the only ways

I like computers, beer, use an ampeg and have an MIJ... ...Jazz bass. Good job or I would have had to run you outta town

TAKE THE NECK OFF!!

[quote name='mrawlins' post='942806' date='Sep 1 2010, 11:13 PM']Wow, beautiful! Great photo. [b]Did you encounter any problems[/b], or can you pass on any tips?[/quote] Anything other than putting them on straight? The best tuners that fit without new holes are the [url="http://store.hipshotproducts.com/cart.php?m=product_detail&p=261"]hipshot [/url]ones.

I'm not - but I was full time for about 2-3 years about 12-13 years ago. I feel old! What is it you want?

[quote name='Mr. Foxen' post='941965' date='Sep 1 2010, 12:48 PM']I think it is totally advisable. Just get a second hand Peavey power amp, and a reasonable pre. The Raxx pres are pretty damn good, and come up for less than £200, 1000w of peavey are sometimes less than £100, with those 'less's you can get a rack case for them (Shockwave has an ideal one going). Even cheaper way would be a Sansamp/BDI21 into the power amp, will sort you.[/quote] Yep totally advisable. Those "cheap and powerful" ones aren't though Getcha lips round of these [url="http://www.newstagesound.com/product_info.php?cPath=104&products_id=485&osCsid=c734bf18133c4571920801bc06e17ba6"]CA Audio ST600[/url] It's what I've got. It's immense.

[quote name='clauster' post='941036' date='Aug 31 2010, 03:05 PM']An EB180 will keep up with a loud drummer (and guitarist) if you're not too fussy about your tone. If you want deep bass and a clean tone and be able to use the tone controls, look elsewhere.[/quote] Yup. I reckon you'd be able to EQ the amp and your bass to be clearly audible, but then your EQ is for getting the right tone innit? not for cutting frequencies that you can't hear over the rest of the band and boosting those you can...