krispn

Aren't Ibanez pushing the Promethean again this NAMM?

As may have been said. Get onto our American friend on talkbass. Try and get chatting with the guys from the gospel scene in the area you're travelling to. See what's available locally from TB and have some viewings lined up or maybe even some loaners? I'm sure the gospel community I'm sure will step up and help. Good luck!!

I know (weep)

I just missed out on buying one of these a few weeks back for £250 locally.

dmckee I always thought about putting the original P pick up in a jazz config like that best of both worlds.

My theory on GAS and hopefully I'll be more succinct than Scotty D... My handwriting is ok. It's legible and some people think it's pretty i.e. I get asked to write stuff when I'm in groups at work, on the white board, on big sheets of paper. Gimme a bic pen and my writing can be understood but given the choice I'd buy myself some Papermate 'Atlantis' pens as they're a bit more expensive but still very affordable, they feel good to me (and I can easily identify one if my colleagues nick it). If I'm feeling flush I might buy a Lamy pen, their Scribble and Dialog are personal favourites, as I quite like their style and design. My point.... I've played Squires, Epiphones, USA Fenders, Musician basses etc and I'm fortunate to own a really nice bass at the minute. Do I sound any better or worse on those different basses? Perhaps? Yeah some feel better, are better made and will inherently be 'better'..... but I still sound like me on them. In the same way a pen might have a moderate influence on my hand writing it's always gonna be my handwriting, the same way a bass will dictate some small changes to how I play/sound. Gimme a crayon and my writing will look clumsy for sure but once we hit a certain standard its calligraphy lessons that will make the difference not a quill and pot of ink or a Mont Blanc. Same with bass, concentrate on what you play and becoming a better player and the other stuff will come. Disagree if you like but those are some fine pens

I'll echo what has been said above - get yourself a decent mic for your cab, muck about with placement in your rehearsal room or to record to a laptop etc so you can listen back and decide where sounds best for, then mark out a 'square' or an 'L' shape on your cab where you think the mic sounds best for future reference. Insulating tape works well and is removable - gaffa tape can be a bit too sticky and leave residue! Next gig tell the sound guy you wanna mic the cab and you have everything you need to do so and work with them to get the sound sorted. You'll know exactly where you want the mic to go and have the gear ready to do it etc. The sound guy doesn't have to worry about picking or placing a mic and you come across as competent and professional and most importantly prepared. I think that we as players should know how to get the sound we want and have the gear we need to make it heard (within reason) so if we come across an inexperienced or lazy tech or just one who's time limited for set up/soundcheck its not an issue as we can be left to our own devices and set up and let him/her get on with the mix. Ideally tell them you want cab and di signals mixed and let them create massive tone for you FOH - who knows they might even enjoy mixing you! Side note - I'm still baffled by the number of singers who don't own their own mic...yuk!

Catalinbread make one which sounded quite good and I recall a guitarist friend of mine lusting after one for years.

I've heard of the third mic technique to capture the finger noises but on the few occasions where I've been recording its just been Di and speaker cab captured. I'd like to muck about with these techniques but that's gonna be on my own time not studio time

The basswitch has a eq, boost and two efx loops one which has a blend function. It's spendy but a superb unit!

I may be picking up a Tone Hammer 350 this week and look forward to revisiting these settings again. Plus we have a new desk in the band so could try two bass signals - send a clean one FOH and a 2nd to blend in a bit of filth. Any of you guys give them a go and what did you think?

We have a New Year's Day gig and have done these last few years. It's a sweet gig, going on for the early slot about 6. Lot's of tourists and regulars kicking about and the mix of rock/pop covers along with Irish stuff (Pogues etc) goes down a treat!

Gioby That's what I initially thought. I've been looking at the MicroMon from beringher which could take the di from my preamp on the pedal board and use the other line in from iPod/laptop. It's a tidy we unit and only about £20! Thanks for the input

Here's a really useful link to understanding the ToneHammer and how the controls interact.....keep's me wanting to go back and try one again!! http://www.talkbass.com/threads/sansamp-para-driver-vs-aguilar-tone-hammer.755083/#post-10678938

The beauty of being in a 'one guitar band' is playing busier where it sounds good but then locking back in for the groove/power. I've been in one guitar bands and loved the freedom to play a bit busier but then again I've been busy as hell in a two guitar and keys band where everything was locked into a big 'chords' section all strummy and dreamy...... but there was space for the bass to 'lead' the melody/changes. Ultimately you just gotta play and have fun and know where to step out and when to lock in. Listening...... I think thats what the old guys called it

This may seem like a dumb question but could I run one of these audio interfaces (I was looking at the focus rite solo thingy) without my laptop connected as a headphone practice amp? I'm guessing I'd have to power it via usb but it just struck me while looking for a headphone amp that one of these might double up for both tasks- well if it had a separate power supply feeding it. Opinions or a swift slap round the ear appreciated

In my regular gig I've been messing around with cab placement these last few shows. I've found if I have the bass cab (a 212 cab) off to my right pointing across the stage so the sound is coming across to me and the drummer - we can both hear things pretty well. We have PA support so I'm not needing the amp to fill the room. Also it means I'm not standing right in front of the cab plus having the little bit of distance means I'm actually hearing the bass better. It also doubles as a stand for the desk which is useful! I've tried having the cab in front of the drummer kinda in front of the kick and hi hats and again angled towards me but the above placement is better in terms of fitting on the 'stage' area and for us hearing the bass. This will be the preferred set up at gigs where we have the space to do so and where we have PA support as the whole band feels its a good compromise for on stage volume, hearing the bass and practicality.

There is a very comprehensive thread on talk bass and the view from those who know is the M212 is the best bet I have a M212 and it's great!

I've been playing a 5'er for a few years and recently sold an old 4 string (well traded) as I tried the 4 string at a rehearsal with one band and then at a gig on the same night kinda back to back and I just missed the low B. I actually traded for another 5er and sold my Lakland JO5 but only as it was a Dingwall PZ5 which was too good to miss. Basically if you love the 5'er keep it. If you can borrow a 4 string Jazz and take it to the gig/rehearsal and see how it feels back to back playing the 4 then the 5 I'd recommend it.....otherwise it's GAS. Good luck!