JTUK

[quote name='AustinArto' timestamp='1465515089' post='3069004'] Not my cup of tea. I admit though I enjoyed it because it's kids, if it was adults I would've turned it off. I still love the sound of kids playing guitars, it's just better. [/quote] Me neither... I think the age issue is the sell, rather it being anything special.

[quote name='Lord Sausage' timestamp='1465563253' post='3069302'] Who cares! No-one is listening to you! [/quote] I don't think this should be true.... If you aren't talking to people, they might not notice you so the goal should be that you ARE 'talking' to people.

There is also a big difference between Barnes and MM's sound so pick the one you want to go after. Jerry Barnes is a fave player at the mo' and has a nice take on slap.. MM has been building his career on the sound he defined in the 80's and his sound is quite easily obtainable on good jazzes. Tom Barney...having got Miller down very well, was often his sub. He even covered for MM on the 'Night Show' so people were also building a CV off his sound..

MM will have 2 stock sounds which happens also to be the two classic jazz sounds because he pretty much defined or re-defined them in the 80's Scooped J for slap and roll off of the tone for the rear finger style... The beauty of the jazz is that it is a quick tweak to do this live if you've got the baases set up. There is no way 90% of the classic slap sounds aren't scooped and certainly MM's. You could drive a bus through them..in terms of EQ.

That 'clank' is caused by the way you play. If you don't get on another bass, then I'd bet the action and set-up is higher. Basically there is too much input into the strings so I'd say the only way to stop this is to up your action, or, longer term, refine your technique so as not to cause it.

Don't agree the 751 can't do that sound...but I've seen him use GK as well, IIRC. Barnes sound is set up for his slap ..but as you'd expect, he has it all down. I think an East pre amp could do it.. you just have to find that hole in the sound from a Jazz. You need good strings, of course. But it is the Jazz bass that will get you close. For me, the trick is how you can cut the mids and that is where all your work will be. He is also compressed but that is to control his 'wild' sound.

Or use Tapered core...?

Tanglewater..???

I like mine in good nick and set-up precisely. If I were to sell them I don't want to loose a shed load of money because I kept them badly enough that they lost more money than they would have otherwise. That is just pooring money away..??

[quote name='Happy Jack' timestamp='1465309089' post='3066989'] As always when this topic comes up, I'm gobsmacked at the number of Basschatters prepared to lecture us all on how you shouldn't rehearse, or need to rehearse, unless you're introducing new material. I can only assume that you all hate your bandmates. The key bit of that last sentence was 'mates'. They don't have to be your friends but [i][b]By God![/b][/i] does it make it easier when they are. For me, Tuesday night is the night when I hook up with the Junkyard Dogs and we have some fun. We play some songs, have a cuppa, play some more songs, go to the pub, talk bollocks, part as friends. If I thought that was too "stale" I wouldn't be axing rehearsals, I'd be checking the availability of nearby therapists ... [/quote] Be gobsmacked then.... the rehearsal needs to produce something otherwise it is pointless. If I want to hang out with mates, I don't need to do this dressed up as a rehearsal.

[quote name='Hobbayne' timestamp='1465247835' post='3066551'] How can you make Sweet Home Alabama more interesting?? [/quote] It is played interestingly or it isn't and that is down to what the players can do with it. If the band think it is a bad number, then don't expect to convince the audience otherwise.. It is up to the band to take it somewhere or recognise it isn't working and drop it.

[quote name='Bill Fitzmaurice' timestamp='1465248699' post='3066564'] Response will be different on every stage and every room. Using EQ to fix the response in the hot spot where he's standing means losing low end everywhere else. Not having a hot spot by moving the cab and/or him is the solution. It's impossible, because room response is different at every spot in the room, and varies the most as you move away from the stage. Use the backline only to drive the stage and the PA to drive the room and you'll get a lot better result. [/quote] But not always an issue everywhere. It would depend how many places the OP has this issue to determine how he is going to fix it. If the P.A is engr'd then I'd expect a better result, potentially.but if not...all you have done is move the issue. and introduced sub also..? maybe. So many variables but I'd start from a place where boom isn't going to be the factor in the first place. and how to address that is another can or worms.

Great strings. I swapped over from using DR for nigh on 20 yrs a few years back and get custom sets for all my basses. Lively but not too bright and last better than most.

One stage only..or all stages? If one stage, EQ for that stage, if all stages, take some bass off

Don't know Musikcraft but Sims is reknown for being top draw. I know he can scan necks if you have a profile you are used to and can use as a reference. He may be expensive but IME, you get what you pay for.

Not sure I would get why you'd rehearse every week if those rehearsals weren't entirely about putting in new ideas and numbers. That is a sure-fire way to get stale for starters. It also depends how free or able the players are in bringing in new ideas... The time to drop a track is when that stops happening ... But it really depends how the band is set up and who is playing.

talk the prices up...!!!

I believe the Glockenklang are as unobtrusive as they can be. My Easts suffer a drop but I can also set them up quite nuetral...as in the pre amp engaged can be used as a gain boost, almost. I think the idea is to have them as an extension of your basses sound rather than colour it hugely. That is what I try and achieve.

I'm going to try the Glock 4 pot but a passive option is a must which is why the existing pre must come out. The thing with onboard pre amps is that your amp has an EQ stage so you must use the two to compliment not fight...

[quote name='Kev' timestamp='1464984162' post='3064487'] What a wonderfully sweeping statement! [/quote] To a degree, but no one, and I mean no one has achieved it, that I've seen/heard. And I see a lot. I'm talking about a loud band here, Volume is not so much the issue as you can rag cabs to get a sound out... but the quality of that sound/tone is another issue. Put it this way... if I was asked by the player if I thought it worked, I'd be my diplomatic best. And if I do say so myself, people do ask me about bass.,,fwiw.

JE's sound did indeed go south when he got indulgent with his super rigs and odd basses.. and he never had the technique to cover up for it. He may well have been deaf as well ..which would explain a lot....but hey, people loved him. Some of his later sound recordings could be woeful ... and maybe you'd excuse that to his 'excesses' I get that people also like Tim Commerford but I don't think anyone is serious about him being the arbitor of tone. These sort of popularity contests are akin to those old Melody Makers best musician polls. People voted for who they liked... and it was purely a populairty contest won by musicians in the most popular band of the day. What is so unusual about that..apart from them meaning not a lot

[quote name='chris_b' timestamp='1464948455' post='3063984'] Yep, context is everything. It makes me wonder when I see posts saying they use a 112 with a "hard hitting" drummer! We obviously have a different experience of the term "hard hitting". [/quote] Yes, I see people try it but I wouldn't say they make it work. I'd agree that they might think they get away with it but I wouldn't call it a successul mix or good sound. I guess you have to be there..

It's what they bring to the party that matters.... All the gear and no idea is massively trumped by talent, but it depends what is important to you. Anyone who is sorted, generally knows what level to operate at..or they don't get those gigs. By the same token, they can have all the talent in the world and be a general PITA to work with... Where do you draw that line..? If a gig is worth so much and the guy is a rampant alcoholic or worse... then you deal with it if that person is an integral part of the gig and can't be easily replaced,

[quote name='Fisheth' timestamp='1464807824' post='3062821'] Never played a CS. Why didn't you like them? [/quote] The bass I have is basically a moderm American deluxe with better wood, possibly. The hardware is pretty standard..and all that put together is hardly a £1400 upgrade. Thankfully I didn't pay anything like the new price and I wouldn't say I don't like the bass --- otherwise I'd sell, but the build is not as exceptional as its price. IMO. I have far far better made basses.

[quote name='ezbass' timestamp='1464694686' post='3061453'] Still cheaper than a mass produced Fender US Standard (£1400 at Guitar Guitar) and street loads cheaper than a Custom Shop which would the comparable build. Man alive I really sound like a fanboy! Probably true, but with good reason [/quote] See, that's kind of my problem, I don't rate the CS build.