Muzz

I shall keenly await a TC-like witchhunt about the fudged power ratings... 😃 If I won it, it'd all be up for sale on here the day it arrived...still, it's a lot of cash... 😉

The Flying Horse in Rochdale is one of my favourite gigs: it's the last pub open in Rochdale town centre of an evening, so we don't go on till half ten or so, and don't finish till oneish. Always lairy (there's three bouncers, and it's kicked off to some extent I think every time we've played there, usually catfights), always lively, and they love a live band and a sing-song. Great fun...

I love the blue...when I bought my Jetglo, I had the choice of that or blue...Geddy won, but I always regretted not going for the blue...

Ohhhh, ISWYDT... 😃

...and he's not on Mr Hall's Xmas card list, either... 😃

Furious Cat is furious...I take everything back... 😕🙂

Not this again? Geddy's on record as having used his Jazz as well as his Ric to record with (on plenty of songs considered to be iconic to the Ric sound), and he's dropped the Ric completely...pushing forty years ago. Similar situation with Foxton and his Precision. I should have written 'didn't use them exclusively' with the studio recordings in my post above, so apologies for that, but the fact remains, however inconvenient. I've never played a '72, they may well have something the ones I have played (and owned) didn't have...and I've moved on basses by Alembic, Warwick, Status, Sei, and all the more usual suspects like Fender, Gibson and MM, and settled with what I like and won't sell. It's a nice place to be, and I'm glad your Rics are that for you. That brand new one I bought was still nowhere near good enough build and finish-wise for a £1600 bass. For the record, I was gutted.

How very dare you... 😁

Yeah, I used to do that when I used Sunbeams. Until I got a set of cheap copies...

D'oh!

One very good step we took was to have an ambient mic (we've only got one at the moment, we could add another, but we're a three piece and we play some small stages) to give the in-ear mix a little 'air' - it takes away the clinicality of the experience. Plus you can hear each other to talk during soundcheck without popping one of your in-ears out... 😀 And yeah, with a Helix and a good guitarist with an ears for sounds, the guitar sounds terrific. I use a Zoom B3, which is good enough for me. The drummer's the biggest tech-head in the band, his little kit sounds huuuuge when he wants it to... Ultimately, it all means more control. We've invested time into getting the band to sound good across the large range of songs and genres we play using the modellers and the PA, and we have a set of saved scenes we can work from, depending on the room dynamics. We're so much more consistent than turning up and the three of us having a best guess at EQ independently, and then having to work from there to a band sound. As I mentioned, we play across too many genres for that to work properly in the limited time we usually get for setup and soundcheck, so modellers, DI and in-ears have been a massive plus. And my tinnitus thanks me every gig...

If price is an issue while you're trying strings out, you'll find the D'Addarios £10-15 cheaper than the DRs...

I've run in-ears for a good while now, and EBS_freak is bob on: a wired backup pair is much cheaper than a backup anything else, rig-wise, and unless you're on a huuuge stage wayyyy behind the PA, if your in-ears go, you'll hear enough from the PA to finish the gig - it's a breakdown/emergency situation, after all). We all have an independent digital mixer feed for our in-ears, mine runs off my iPad, it's usually to hand. No-one else touches my in-ears mix. We use drum triggers and no backline for pub gigs upwards, it sounds good.

Brightness and zingyness? I'd second the ProSteels...

Girls dance to the bass. Now that's important... 😁

They're, erm, ergonomically challenging and certainly Marmite...I had a new 4001 in 1979-80, my first 'really good' bass. Played it for several years, and moved on. I love the look of them, so for my 50th I paid full RRP for a brand new Walnut 4003. It went back the next day. A £500 bass with a £2000 image... If they weren't so much money secondhand (£1300-1400 for a used £2000 bass is a lot of money for me) I'd possibly try another, but it's a lot of money for Pot Luck to be a factor, and there's more than one thing that can go wrong with older ones... Interestingly, a lot of the 'iconic' players (with the notable exception of Mr Squire) either moved on fairly quickly, or didn't use them in the studio for the 'iconic' sound...I'm thinking Messrs Lee and Foxton here...

I'm not sure the bombastic thread title helps, really...while I'm sure he's terribly, terribly clever, I haven't heard (and I've given it more than five minutes) a rearrangement of a good song that's improved it at all. It's very niche, and in those terms people who like that sort of thing will like it. Didn't work for me, and I don't get it in a similar way to anyone who doesn't get the Stone Roses or The Smiths* doesn't get them, either. Those trousers in the first clip really are dreadful, though...and without wanting to reduce things even further into the realms of shallow waters, his resemblance to a very young, very pleased Keanu Reeves unsettled me, too... 😕😁 * And I note in between the protests of judgement, there's plenty of judgement of other musicians (very much The Usual Suspects) and their output.

I don't think you're threatening him at all - you're only discussing unresolved issues with a bass from a manufacturer whom lots of people here like (this is Page 99 after all 🙂), and he has an opportunity to make things right for you, which in many cases can turn out to be an even bigger positive for the manufacturer. I had an issue with a Dingwall pickup a while back, and the way Sheldon D resolved the issue reinforced my positive opinion of him and his company. I hope it all gets resolved for you.

Is he aware this is being documented on a busy bass forum, and therefore not doing his business any good? He might respond differently if he knows this is the case...

I once had a brain fart when trying out a Warwick Vampyre 4-string that I knew was strung for low tuning. I assumed it was BEAD, turns out the Vampyre Dark Lord (for unbeknown to me 'twas one of those) is strung F#BEA... 😕😀

I’m interested in the outcome of this, mostly because of the knock-on implications to the whole ‘tonewood’ debate... So will it be installed in an otherwise completely different bass? Construction, tone circuit, pickup position, body and neck woods? if it sounds just the same, you may have started a revolution...or a lot of arguments... 😀

I had a direct response from Jeff when I had a question about the amp; he's a very good communicator, unlike some manufacturers, and if anyone knows, he does. FWIW, I ran mine with 3x8ohm cabs a lot, and it was always good...

I'm also a fan of the Schaller 3D bridges, because I think they're a clever and simple piece of engineering to give some lateral adjustment, but mostly because they're a comfortable shape if, like me, you spend a deal of time with the heel of your hand on the bridge. As far as tone goes, like soooo many elements in a bass guitar, I'm unable to conclusively comment one way or the other. Oh, and anything that replaces the Gibson 3-point 'everything falls off when you remove the strings' bridge can't fail to be an improvement...

Can I just start the day by saying '...the clientele are semi-evolved and are only interested in the disco...' has made me smile like a loon? Thank you. 😁

All subjective and completely valid, but in this case, I'd take the OP's original db751 over any of those options, given that the two options you found more pleasing are pretty much as big/heavy as the db751...it's all a compromise, in the end. And, I have to say, in at least 75% of the gigs I play, a completely academic exercise...but then that's the wacky world of gigging all over 😕😀