40hz

If your drummer is too loud, turn him on to an electric kit. A lot of the newer ones are indistinguishable from the real thing, sound-wise. The drummer in one of my covers outfits uses one (as he also hates playing loud) and it really cleans up the group sound as a whole.

Not wanting to derail a current for sale thread, I'm intrigued to know what year/s that logo-less Bartolini pickups were installed on Flea Basses. Of the 3 Fleas I've owned, 2 were Seymour Duncan pickups (which are unmarked and flat black in appearance) and the other was a Lane Poor (easily identifiable by having the circular logo). I thought that Barts were removed as standard fit option and replaced by the Seymour Duncan by the mid-late 00's? Having done some research on them, Barts all appear to have the logo up until the early 00's (that I could find) and I've seen later ones from 06 (and indeed the one for sale from 07) that still have 'Bartolini' marked across the pickups. Was there a point in-between this where they removed it? or did it come later? Just wanting to know if anyone conclusively knew, or could shed any further light as I thought I had everything down about these wonderful basses!

You're right, I've also definitely seen them around that figure, I was just being slightly more optimistic than perhaps I should have been!

On a slight tangent, I finally listened to Dream Theatre today thanks to this thread. Reminds of the boss battle type music on old Sega/Nintendo games. Fair play to EB for doing something a bit odd, always good in my book.

https://www.ebay.co.uk/itm/Warwick-Streamer-STD-Standard-Electric-Bass-Guitar-Germany-2000-Roadworn/254677744048?hash=item3b4bf9f9b0:g:RZwAAOSwiVpfKrA4 Apologies if this belongs to somebody who frequents here, but this is a bit of ambitious price. Even when mint, this would be worth around £250-300. It does have a lovely wenge neck on it and I like the colour combo.

If it's the same MEC pickup that I have in the Rockbass Streamer (which I believe it is) it's a common thing that's been discussed. They are super quiet pickups. IIRC the stock pots in the basses have too high a resistance for the type of pickup.

On the originals circuit in Oxford, although most of the actual PA's themselves are quite beefy, there's absolutely no chance of getting by on the monitors in any of the venues ( I went through a period last year of testing this theory, trust me 😂) so I still have to haul my Epifani UL210 and TC BH550 to all gigs (not that this is any big chore as it's a light set-up). If you're playing covers/functions and you've got a PA that has been formulated with this in mind, then I can see no need for an amp/cab at all. Horses for courses, we're all playing to different audiences in different ways.

I love this track from Power, Corruption and Lies.

That particular Modulus has a Lane Poor P/U.

£1299? Are these USA built at that price?

Engineers in the studio - "Can't you just use a Fender?" The response is usually along the lines of "No" with varying severity.

Thank you very much! We'll get there one day I guess! 😂

I recently sold my 1997 Modulus Flea with an eye on putting a deposit down on a new Wal build, however, earlier this week, after a few sherbets, I stumbled across this online at a price far too good to ignore. I don't remotely need it but I could not resist no matter how hard I tried, having always wanted a blue flake model. It's a 2004 model, with the Seymour Duncan pickup and Aguilar OBP-1. It's definitely angrier sounding and not quite as clean as the 1997. This is now my 3rd Flea. I'm not sure I'll ever kick this habit!

Couldn't agree more. I remember it being discussed on here years ago that the Stingray owners tend to be a tad overprotective of their basses and any criticism of them. Here's the thing, of the mass produced basses you can buy, the Stingray is absolutely my favourite! I've owned a few and I'd take one over a P or J or Rick all day long, but that doesn't mean they are perfect or without fault. Unfortunately a huge number of people have reported this issue, myself included, for it to be explained away as we're all wrong or don't have any idea how to EQ a bass (FWIW I have always had very clean amps, ran completely flat). I think even BP on the EB forum has discussed and confirmed this idiosyncracy before. My favourite bass full stop, is a Modulus Flea, I've heard them criticised by others, stating they sound 'sterile' and 'plastic' and somewhat gaudy. But you know what, If someone else has had that experience and that's what they took away, then that's absolutely fine by me. ✌️✌️

Fwiw, although my experience isn't with the exact basses you list, I have had a Warwick Streamer Stage One, a German Streamer LX and a Rockbass Streamer 5 along with the Spector Euro 4. The Warwicks had a much 'barkier', more brittle sound naturally, although with a warm bottom end which I put down to the MEC pre-amps. They still sounded and played phenomenal, however. The Spector Euro 4 (with EMG PJ's and Tonepump preamp) was a fizzier, more full bodied and punchier tone than the Warwicks, which for my personal tastes, I preferred. Both will be built to an equally high standard. Far beyond your usual fare on these hallowed pages anyway!

The guy who played John Deacon is Joseph Mazzello, otherwise known as Timmy from Jurassic Park. Funny that you say that regarding him as he plays Bass in real life!

Weirdly enough my functions band had the opposite experience. We found maxing the volume on channels and adjusting overall volume using the gain control greatly reduced the feedback and cleared our stage sound up.

Same here, I always use a completely flat EQ. My old 2009 3-band Ray and my USA SUB both suffer/ed from a weak G string in a live context. I don't know the science behind it, but for me it's definitely there, it used to frustrate me a lot on gigs as I could never hear or feel the pops on that string.

Victor has got a fabulous outlook on playing bass and is always an interesting guy to listen to. Sadly, I can't stand his actual music 😂

You are quite right. I am very much a 'leave the pre-amp flat' sort of Bass player, and even like that, I notice what I'd describe as a 'strangulation' of tone setting the gain that high.

I suspect you might be onto something, Lozz. I'm, personally, the polar opposite in my tastes but it's nice to know I'm not necessarily doing it wrong!

Evening all, I've tried to find a precise answer to this using the search function, but am having no luck. My question is, why is it that on every amp I've owned, it is recommended to push the gain close to the clipping point? Are there any benefits to this, because to my ears, it just furs up the sound and make it sound shoutier and far less defined compared to my MUCH preferred method of maxing the volume and using the gain to regulate overall volume (usually no more than a 3rd, amp power rating dependent). I've done this with all of my amps and, IMO, they sound far superior this way. Cleaner, clearer and 'wider' with better transients. It's been the case on every amp I've used/owned, from a Little Mark 2, GK MB800, Trace Elliot GP12 SMX, Eden WTX, and particularly so on my TC BH550. Am I weird?