Delberthot

I agree with nickel being smoother on the fingers. I use D'addario EXLs and they are the smoothest rounds I have ever used which is handy as I have just changed back after using flats for the past 5 or 6 years

Brush script is as close as you can get to the Fender logo and the H at the beginning looks a bit like the F in the Fender logo

I would either keep the tonepump pots assuming that they are 25k ones or thereabouts the same as the EMGs and solder the pickups to those or forget about it and go with the EMG BQC or BQS system as it is a doddle to connect together

[quote name='grumpyguts' timestamp='1484074766' post='3212504'] I replaced the standard tube with a JJ ECC803S just to see what happened. Well.. despite my lack of an expert ear for such things it does seem to have added a bit of extra something perhaps more character, depth not quite sure but it sounds different and better. So for a small fee and very little work I am happier with my amp - what a result. Give it a go. [/quote] That's the one I put in my LH1000 and I agree that it definitely adds something

I've had many amps over the years but always went back to GK as they have a great inherent sound - I never fully understood what "transparent" meant but I can take a guess that the GK sound isn't. I briefly had an MB200 but I felt that I was going to have to push it too hard so went with the MB500 and absolutely love it. It has the same boost facility as the RB heads and I have the boost most of the way up. You're also getting a master volume, well 2 using both channels, a contour control that is a knob rather than an on/off switch I never use it) and a mute button which comes in handy for switching your amp on when it's plugged into the PA so you don't get a pop when it goes on. There's also extra stuff on the back as well that I don't use apart from the DI

I had Chromes on my Sterling but felt that it was missing something so went back to nickel wounds. The Precision I had a couple of years ago with active PJ EMGs sounded incredible with the same strings. They've also been really good on every bass I've used them on over the years such as an Epiphone Thunderbird with EMG HZ pickups and a Yamaha BB1025. I dont think you'll know if you like them until you try them. I don't find Youtube videos incredibly helpful as you are limited to the speakers you are listening to the video through, the bass they are using, the recording equipment they used and so on.

They sound like GHS Precision Flats

Possibly trying to build up positive feedback quickly by selling items cheaper than normal? There have been fake Elixirs on Ebay in the past though but I couldn't comment on these

I was using Chromes 45, 60, 80, 110 so I could drop the E to B. I then changed to Rotosound Billy Sheehan strings that lasted about 5 minutes and now I'm using standard D'addario EXL165s. They still handle the drop to the B pretty well, last a good length of time and are pretty cheap by bass string standards ( £11ish ) I think anything 105+ is good for prolonged drops to the D and beyond

Cool - I'm about to learn this so this will come in handy

Following on from the amps you currently own thread I thought it would be interesting to see how many people have suffered from Amp GAS. I myself was riddled with GAS for a good few years and even now I tend to change my amps every year or so. Over the years I have owned: Amps: GK 800RB GK 700 RB II GK1001 RB II GK MB500 GK MB200 Ashdown ABM 500 RC Ashdown red face MAG400 Hartke LH500 x2 Hartke LH1000 HArtke HA5500 Trace Ah150 Mk V Ampeg PF500 Genz Shuttle 600 Orange Terror Bass 500 x2 TC Electronic BH250 Cabs: Trace Elliott: 1528 - V-type - 2x15" 1524 - regular ported 2x15" 1248 - V-type - 4x12" x2 1048H - 4x10" 1153 - 1x15" 1518 - 1x15" 4052H - Bright Box 2103H - 2x10" 1152 - Multistack Wedge 1x15" Ashdown MAG 8x10" Hartke 215XL - 2x15" Laney Nexus 1x15" Laney Nexus 4x10" Behringer BA410 - Aluminium 4x10" x2 Schroeder 1212L - 2x12" GK 210MBE - 2x10" [size=4]Vox Super Foundation 2x15"[/size] [size=4]Ashdown ABM410 - 4x10" x2[/size] [size=4]Ashdown MAG410 - 4x10" x2[/size] [size=4]Ashdown ABM115 - 1x15" x2[/size] [size=4]Ashdown MAG414 - 4ohm 4x10"[/size] [size=4]Hughes & Kettner BR410H - 4x10"[/size] [size=4]Barefaced One10[/size] Combos: Squier 15" guitar combo Peavey TNT160 Trace 7210H - 2x10" Trace 1110 - 4x10" Trace V-type 1x15" Trace 7215 - 1x15" GK MB210 GK MB150 Fender Rumble 500 - 2x10" HH VS-1x15" Hartke A100 That's actually obscene and these are only the ones I either remembered or had photographs of. Some of these never saw a gig as I had changed my mind before I got round to gigging them.

[quote name='stingrayPete1977' timestamp='1481646290' post='3194003'] I'd be interested if they made a signature version of the one he's actually using now, with a B string too. [/quote] I did think that it was odd that they released the bass Flea uses only in the studio as the signature rather than the one he actually uses live since most of the people buying them will be using them live I would have thought? Then again, the bass Flea uses live was probably only made due to the signature model so that the paying public could see him using something that resembled the signature than something by another manufacturer

Fantastic. Thanks for all of the suggestions. That gives me a lot to get going with

I once heard his Warwick Thumb fretless tone described as the Jack Bruce fart

I decided at the end of last year to get back into playing a fretless so I have one on the way that will be with me on Wednesday. [size=4]I want to learn to play it properly rather than approach it like a fretted bass. I'm thinking more Tony Franklin and Jaz Lochrie kind of playing.[/size] I'm familiar with Paul Rodgers stuff which is chock full of fretless bass but I'd like to listen to as much as I can so I can pick up bits that might come in useful. I'm really not into the Jaco style of fretless which Youtube is full of although I acknowledge that there may be bits of it I can use, I just can't listen to it for more than a couple of seconds. So I'd appreciate if anyone who's into what I'm looking for can steer me in the direction of more rock oriented bass playing and if there are any useful Youtube instructional videos as I've been searching all night and can't really find what I am looking for. Tony Franklin's videos demonstrate the various techniques but he doesn't explain how to do them.

Never thought about at the end of a gig but I'm really OCD about having clean hands during the gig so won't let anyone shake my hand. I do explain why though so as not to appear antisocial. At the end of a gig I'm always straight to the toilet anyway so would wash my hands before and after. One of the down sides of drinking a lot of water during a gig and getting older [size=4] [/size]

I think towards the end the '51 was about £900 brand new but originally much less. Like I said, I picked up a secondhand one for about a third of what they are selling for now but they were still being made at the time

My 4003 midnite blue had paint that was so soft that it ran underneath the top clear coat and the binding turned pale blue

I've always used whatever was needed in the band whether it had 4, 5, 6, 8 or 12 strings. At the moment I only need a 4. I have 4 songs that require low D and 2 that require a low B so I didn't see the point of playing a 5 all night plus I don't have time to change basses so the HIpshot double stop was the answer

The Lollar pickup is a killer. Incredible and sounds exactly what I'd expect a single coil precision to sound like. I had one in my Warmoth '54 If you're going to get one then do it now as the prices have been creeping up. I bought my 2 tone one from an Ebay seller in Japan for £260 delivered about 7 or 8 years ago before they were discontinued and therefore desirable. I've never found anything that sounds anything like it plus they are really, really cool basses

Some people like the initial zing you get from new strings that fades relatively quickly so change more often, hence the need for cheaper strings. Although my strings are cheap they're not cheap if that makes sense? I've used D'addario strings for years and the EXLs are the smoothest, longest lasting roundwounds I've found and I've tried literally everything over the years.

There have been too many to mention this year but by far the most upsetting have been Lemmy this time last year and Rick Parfitt today. The man was a machine. Anyone who can play strings as heavy as the ones he used and mainly downstrokes on the plectrum is awesome to begin with. As soon as I heard today, I posted a video of Big Fat Mama on Facebook which is one of my favourites. Saw Quo a few days ago and although the guy who replaced Rick was pretty good, he wasn't Rick and even Rhino had to step up to take care of Rick's vocals

The problem is that Flea himself said that the Jazz was great for recording but didn't cut through enough for live work - I'm guessing he is using a Jazz shaped bass with a Stingray pickup due to the deal with Fender instead of the Modulus. That's why I don't see the point in the actual signature bass unless you're using it for recording or don't want to sound like Flea live. If any of us want to sound like Flea or at least use what he is using currently live then we're going to need the one with the musicman pickup in it. I'd certainly like one of those

[quote name='BigRedX' timestamp='1481101074' post='3189634'] You might look like a tool throwing shapes while playing the bass, but I look f***ing awesome! ;-) [/quote] I'm with BRX on this one. On the run of Christmas party nights this year, who is the only member of the band to have had pictures taken with various attractive ladies? That'd be me then [size=4] [/size]