Low End Bee

One lipstick pup per string so technically 4.

New project for 2017. Original material. Riffy dynamic and melodic garage, punk, psych. Not hardcore. Not rawk. Lots of interesting noises not too many words. We'll be rehearsing in W4. Write and record an EP do a video or two and take it from there.

I like the idea of a massive amp and cabs pumping out a big sound. As long as someone else carries them of course. I can see whjy the touring pros have them but if you're playing mid and smaller sized venues going DI with just a little amp volume on stage as a monitor enhancement I wonder what difference it would make? Serious question. I'm willing to be won over.

[quote name='Chienmortbb' timestamp='1482237145' post='3198676'] I thought they had "tamed" it on the later ones, must have been extremely "hot" if the pad on the mixer could not tame it though. [/quote] The pad on the mixer was not enough. Played plenty of established venues with pro sound people and new bells and whistles desks and they could not cope with the signal. Went through a Sansamp to the desk and used the OTB as a stage monitor until I got rid of it. When I used it without the DI at a couple of rare pub gigs it sounded glorious though. If the DI was OK I would still have it now. Later ones were sorted I heard.

[quote name='Jack' timestamp='1482232600' post='3198611'] ASIDE: Does the OTB not have a DI? That seems odd these days. [/quote] It does have one. But the earlier ones like mine booted out so much signal I had to get an attenuator to control it before it melted the desk.

Orange Terror if you don't have to DI. Proper old school fat rock sound. I miss mine a lot.

King Kurt - **** Off Status Quo Motorhead - R.A.M.O.N.E.S. Half Man Half Biscuit - Joy Division Oven Gloves Vic Goddard & The Subway Sect - Johnny Thunders (tune!) Denim - Middle of the Road (I count 11 references plus a Chicory Tip riff)

The Hives have got some serious self referencing form: The Hives Declare Guerre Nucleaire The Hives Introduce the Metric System in Time The Hives Meet the Norm T.H.E.H.I.V.E.S.

Not the sort of music I listen to but I liked the bass sound on that. Nice and growly and suited the mix. I usually record with a precision through a Samsamp BDDI set with a bit of drive and not much else. Last session I went through the producer/engineer got a free hand and stuck me through some expensive ancient valve DI into a reel to reel with all sorts of plugins and the end result sounded like someone else and a bit bland to my ears. So I think I know where you're coming from. If you're Warwick is active it's already got something going on between the pickups and desk so you don't need to add all those bits just because they're there if you're happy with your sound.

After last night I have a new number one. The Blackstar ID260VTP. Fizzy mush.

Is it a copy of the Ovation Breadboard?

I do them with a pick. It's about the only semi impressive thing I do on bass. I just fancied having a disco middle 8 in a rock song I wrote so I perservered slowly with a patient drummer building up the speed using the 'bum di' technoique as above first until I got it. It feels comfortable now and I just have to remember not to over use it.

Holding midfielder.

Clean break and move on. It's not nice but that's the way it goes. If it wasn't this instance you've outlined it'd be something else further down the line.

I've used 5 different amps with the same (fairly loud) drummer over the past few years. Master volume out of 10 for each to match the mix with the rest odf the band would be about: Ashdown Mag 300 = 6 or 7/10 Trace Elliot 715X = 4/10 Orange Terror 500 = 2/10 Mark Bass LM 250 = 8/10 TC Electronic Classic = 3/10 The last three all through the same TC cabs.

[url="http://www.ebay.co.uk/itm/hofner-bass-guitar-short-scale-/112230824633?hash=item1a217a7ab9:g:2ksAAOSwA3dYScy0"]http://www.ebay.co.uk/itm/hofner-bass-guitar-short-scale-/112230824633?hash=item1a217a7ab9:g:2ksAAOSwA3dYScy0[/url] Super slanty angle

Nothing to see here....

When I had my OTB500 I ran it through a TC Electronic RS210 and an RS112. I loved the combination. I only got rid of the OTB because it was one of the ones with the hotter than Hell DI's.

Whenever I've been in a supporting band it always seems to go 1 of 2 ways. 1. The headliners are complete gents and are checked in very little time leaving you enough for a decent go yourselves resulting in a good on and off stage mix for both bands. 2. The headliners turn up late. They spend hours on one of the toms as 'it's alway too boomy' doing .5mm turns on the adjuster after they've spent ten minutes looking for the key in the drummers bag. They decide to do a complete valve swap on stage on some old guitar amp that's ready for the scrap yard. They play one song 14 times to get the level of the stylophone right (they don't end up playing this on the night as they change the set at the last minute), The singer wanders aimlessly around the stage on his phone telling the soundman the guitarist is 'Nearly her, literally just around the corner. Just needs to find somewhere to park' None of the band go and help him unload his gear letting him do 3 trips from the car park solo that's about half a mile away. You then get a sub 2 minute line check and hope for the best and end up sounding like your playing through a tin can and foam filter. Band 1 have been around the block and are normally quite well known. Band 2 think they have and normally aren't.

Adam Clayton said we're all ****s

Perversely I'm thinking that I might quite like to be in a band of awkward ****ers who just say what they think and only really concentrate on the music. Work hard, have a bit of a shout up and not worry about tea and biscuits. Have a bit of an edge to the band. Maybe it's because I'm a bit of an awkward sod myself?

Roadworn Boss TU2. It just works.

[quote name='thegummy' timestamp='1481032155' post='3189119'] What's sad about that? As long as it has a RW fingerboard, stick a tort guard on it and it's one of the best guitar looks of all time. [/quote] Rosewood yes. Came with an off white guard I swapped for a black one. I don't like tort either!

[quote name='kodiakblair' timestamp='1480981276' post='3188799'] @thegummy Just ignore me Brother. I spend too much time on TB winding up Americans [/quote] Too much is never enough time to wind up some of the po faced/insane TB lot. Back to topic. It's the little things here and there that make a big difference for me. Admittedly it was nearly 10 years ago but when I bought my US Fender new I tried about a dozen before pulling the trigger. A couple felt not quite right the rest were pretty good and I settled on the one that was lightest with the nicest feel. Sadly it was in 3TSB but I'm learning to live with it. I've played some nice Mexican made and Squiers too and also a couple of not so nice ones. I know they're mostly made by CNC but they do seem to vary to a noticeable extent. Got to try before you buy at new Fender silly prices.

I've been playing 34", mostly Precisions forever. Since September I've switched to a very nice 32" Warwick Rockbass Starbass. It took very little time to adjust and feels very comfortable. I picked up the P Bass for the first time since then last night and was having a little trouble adjusting which I found surprising. I don't get the deadspot thing particularly. I don't notice them on any of my long scales. Maybe I've just nbeen lucky or that they're all atpast the 12th fret where I never venture anyway. The medium scale seams more even in volume across the strings maybe but the long scales do feel like they have a bit more oomph. Hard to tell with different pickups, etc. I do find I have to take more care EQ'ing the shorter bass to fit in the band mix. I might even have a go at a proper 30" short scale if I see something interesting and cheap.