Muzz

I had a LMIII for a good while, but found I was using a Sansamp permanently to get the tubey sound I was after, so in the search for simplicity I tried the Tube 500 and the Rocker, neither of which I got on with (Tube too subtle, Rocker too fizzy), so then I went through the others like the Shuttle (again, too harsh/fizzy for me), the PF500 and Bass Terror, and ended up with a TC Classic, then the RH450. I use a Schroeder cab, and it works for my sound really well - lots of low mids and some nice tube saturation. Plus all the bells and whistles are good to have - I have the simplest stage setup: amp, cab, bass. Tuner's built-in, compressor's built-in, three presets built-in - I'm not a fan of pedals. I'd like to try a Streamliner, but that's just inquisitiveness - I've no real desire to change what's a winning formula for me. I should add that every amp on the list above was more than loud enough (with decent cabs) for my rock band.

I said it nine months ago and I'll say it again ( ) - this is why I couldn't stand a custom build...I'm too old...

[quote name='Grand Wazoo' timestamp='1322634704' post='1453704'] These? [IMG]http://i144.photobucket.com/albums/r200/xt660/Tbird.jpg[/IMG] [/quote] Oh my Lord - this might be just what I've been looking for for a long time now. A four string version of the top one in a nice wood with two pups. Blimey.

Yup, I'd agree with Bob - I've had an Ampeg fridge, and while it looks very manly, it's the most impractical cab in the world (with the possible exception of the Peavey 18" I had once which was the size, shape and weight of a washing machine). Elderly wimp I am, I've only got one Schroeder 1515L, but it's plenty, plenty loud enough for my drummer, and let's be honest, it's only him you need to keep up with on the volume front. Everything else is about monitoring. On the other hand, if you're GASing for a fridge and it's a bargain, go for it and get it out of your system. I'm guessing about halfway down the first flight of stairs will be when it starts to lose its thrill. Unless, of course, you have roadies, in which case buy four...

[quote name='Panamonte' timestamp='1322400232' post='1450310'] In the words of Rod, you wear it well [/quote] Why thank you. I cured the neck dive on mine completely with Hipshot Ultralites, a Hipshot Supertone, and shifting the strap button. Not an option on that gorgeous 76, obviously, but it works elsewhere. Now all I need are some chrome pickup covers and rings, and I'm done.

[quote name='BigRedX' timestamp='1322505913' post='1451789'] I'm hoping for a return of the "Original" design. [/quote] Oh Gawd yeah...

I enjoy my best bass more than the others, too. My best bass is the second cheapest I've had in twenty years. The Shukers, Rick, Overwater and Goodfellow came and went, as did the Ray, the US Ps and Js, the 70s J, and the NT $$. All well made, some very very well made, but my two faves are frankenbuilds which really really suit me. I'm glad I owned the higher end stuff ( and the standard stuff), it taught me what I like and what I don't, and the fact that, for me, it ain't all about pound signs.

<--------- Thunderbird? Live? Ok, it's Fenderbird, but it's still great.

[quote) [sub][font=arial, helvetica, sans-serif][size=5]Hanging Around.Stranglers.JJ Burnel.Nuff said.[/size][/font][/sub] [/quote] This.

No Jean Jacques Burnel? Tsk tsk...

I love my modern rig every time I move it, which is every rehearsal and every gig. Loved the old SVT and 8x10, but wouldn't go back to it now. My modern rig cost less than my old one did back then, too, tho none of it was ever bought new. If I had to go back to a bigger rig, I'd get a 2nd hand Roland D-Bass combo and maybe the extension cab. Maximum bang per buck, with some modern refinement, too.

Yeah, I'd love to know what those Artec pups are like, and how big they are (they certainly look right), though chrome surrounds would finsh them off properly. Give Steve at PMT a ring - he's very good, and very reasonable. 0161 877 4962 Be aware though, that the control cavity isn't exactly deep if you're thinking of fitting a preamp.

If you check out my pic left, I've just built one. It's fantastic. The neck pocket needs opening out (I got a stunning job done on mine by Steve at PMT Mcr), and it'll still neck-dive with the Fender(sic) neck on, but I completely cured mine with Hipshot Ultralights (£50) and shifting the strap button. I also put a Hipshot Supertone bridge on (£60), but I didn't mind spending a bit on it. The bridge mounts via three huge sockets, so if you use a more generic bridge you'll still have those holes, plus the bridge is pretty high, so bear that in mind when you're doing the neck rout, or you may end up with your Gotoh (or whatever) on a block... I didn't think the stock bridge was too bad (apart from the pain in the arse of the saddle falling out when you change strings), but the hipshot is a definite improvement. The pickups are the major sticking point (don't fancy lashing out for the Mike Lull set just yet), although Seymour Duncan SSBs will fit, I believe. I'm considering Nordstrand Big Splits at the mo, but those will have to wait until after Xmas. The standard pups aren't too bad for now, tbh. The only down for mine is I started with a really cheap multi-dinged Korean Epi body, and now I wish I'd spent a bit more (I even had a look at that body of yours on EBay) and had a nicer one. I guess it's 'reliced', though... Edit: more pics of mine (before new bridge) here: [url="http://basschat.co.uk/topic/155523-nbd-fenderbird-in-da-house/page__fromsearch__1"]http://basschat.co.uk/topic/155523-nbd-fenderbird-in-da-house/page__fromsearch__1[/url]

For me, it all depends on the bass: I went through allsorts of strings for my Fortress, and the Hartke's I got for £15 for three sets just suit it down to the ground. At the other extreme, the DRs on my FrankenPJ are the very best I've had. Didn't have enough cash for DRs for the Fenderbird, so that's got D'Addarios, and they're really good on that. Horses/courses.

I had to learn Galway Girl for a short notice dep job not long ago, and for a four note bass line, it drive me insane! I know, I know, it sounds stupid, but I just couldn't get it to stay in my head. On the night, I turned all the treble off, mumbled through it and glared at the guitarist occasionally. Worked a treat.

I use a couple of pieces of that zigzaggy foam, zigzag sides together, under my cab where necessary. It's only about 2 inches thick (less when compressed) so it's very stable, and it works perfectly. Plus it's easier to bung in a bag/ under your arm to carry, etc. Edit: this is the stuff: http://www.amazon.co.uk/Acoustic-Treatment-Wedge-Studio-Tiles/dp/B000RW7U9U/ref=sr_1_1?ie=UTF8&qid=1321379626&sr=8-1 33 quid for 24, I got mine from the drummer's stash for nish. Recommended.

Try sitting the heel of your hand on the bridge (which, moved forward a little, is great for muting) - that'll help keep your angle of attack consistent. Strap length will help to settle your angle, too. With a lot of practice, you can get up and downstrokes very consistent, which helps, too. I find the hardest thing to do with a pick is disco-style octave triplets across three strings, but then that's what yer fingers are for

No conversions here - played with a pick forever, and always will. I can play fingerstyle, too, and do on a couple of songs, but they're the exception rather than the rule. I find the exact opposite in a band situation; the pick allows cleaner attack and better definition for (most of) the stuff we play. Was chatting about this with the band the other day, and they said the same thing.

[quote name='Doctor J' timestamp='1320956831' post='1433823'] James Lomenzo's Yamaha is pretty nice - you could move a lot of air with that, I reckon. [/quote] Oh dearie dearie me, I need one of those. I could live without the mud bucker, but a maple board on the 2024x and two split-coils? Must, must have. I will sell the lot, and body parts, for one. The 2024 I played last year was so, so good, but the rosewood boards are a deal breaker for me.

I've got a couple on my FrankenPs and one on my Fenderbird, and they're great. The quality is a little variable - the first P was better than the second, and the Jazz was about in between, but generally very good and nothing a quick fret dress wouldn't sort out to top quality. For the money, they're terrific. I like a satin finish to a neck, so they suit me down to the ground. Sold my US Ps on the strength of them.

I look at it this way: I was in Amsterdam a while ago with some friends, and we were watching one of those street entertainers who do the football tricks, and every so often he'd pass the ball to one of the audience, who would try to do a trick and invariably look silly. He flicked it to my friend, who caught the ball and rolled it back to him, shrugged and said "I'm a keeper."

[quote name='Deep Thought' timestamp='1320849469' post='1432224'] No prizes for guessing what gets my vote! [/quote] We have a winner...well, in my book, anyway...

I've got the Big Combo in a P/J, and I love them - so much so I put a set in a Warwick Fortress, too. They're much higher output than standard, but still sound old-school. I'd suggest that for the money they're worth trying, and even if you didn't like them, you'd soon shift them on here second-hand. The J (84) is particularly good.