40hz

Such a shame that a name that carries massive weight (pun thoroughly intended) has been left to stagnate and rot. They could still do amazing business given the right owners and direction.

[quote name='Truckstop' timestamp='1455717055' post='2981756'] Yes I would. There's room for all of those acts under the Hip Hop umbrella. And I didn't say it was rap. And to be honest I find your assertion that "made for radio" music is "sh*te" quite rude actually. Who put you in charge of telling people what music's crap or not? [/quote] I'm not telling you. This is my opinion. You clearly differ. No need to take it so personally.

[quote name='Truckstop' timestamp='1455701907' post='2981509'] No, I think he's just lost his way a bit. Dropout's an incredible album. It's essential listening for anyone that likes hip-hop. I suspect he'll take a break and then come back in a few years with a groundbreaking album. [/quote] You'd call this hip-hop? Or even rap? I'd call it neither. It's made for radio, urban sh*te with hip-hop leanings perhaps. This is a million miles away from hip-hop, such as A Tribe Called Quest or Jurassic 5.

[quote name='keefbaker' timestamp='1455532810' post='2979842'] The man is a grade-A dong in every conceivable way. Every single thing he does makes him look more and more stupid but still people buy into his crap. The human race, ladies and gentlemen, the human race. [/quote] Nailed it, my thoughts exactly.

I want another GP12 SMX at some point. Crystal clear and full of shove, fantastic bass head. As always in these threads I advise people to stay away from the pre-shapes. Some people swear by them, it just turned my tone into an indistinct, mushy, overcooked crapfest. I think this is where the perception of the tone being poor stems from. The EQ is your friend! Using that, I could get any type of bass tone I wanted.

Magnificent 7 by the Clash is Norman Watt-Roy and not Paul Simonon.

I was going to say Muse. Caveat being I don't love them, for this specific reason.

Will bought my Markbass head from me. Super smooth deal, quick to reply to comms, trustworthy and friendly with prompt payment. Deal with utter confidence. Cheers Will!

Thanks for all the suggestions chaps. Going with a TC BH550! Can't find a bad review of this thing and at £350 new, it seems rather bargainous.

Never ever used the tone control, anything which dulls the sound is not for me! On the 3 Jazzes I've owned it's acted more like an 'on/off switch' anyway, with next to no tonal variation inbetween. Were they all faulty?

[quote name='Geek99' timestamp='1454928783' post='2974179'] Good bass lines - I always had a thing about their female backing singer Edit: Katie humble https://en.m.wikipedia.org/wiki/Go_West_(Go_West_album) [/quote] I've met Katie a few times, she's a really lovely lady! Pretty sure she told me it was Pino on a couple of their albums too.

I love U2. Granted, today they are a parody of themselves but people forget, 85-93 they released some utterly incredible albums and that is what made then so big in the process! Joshua Tree is still a top 5/10 album of all time for me. No problem with Adam Clayton at all, he plays exactly what his band demands.

[quote name='dood' timestamp='1454848865' post='2973466'] Throw in the TC BH 500 or BH800 to the mix too. very clean sounding but if you want you can dial in a bit of TonePrint sounds too including compression or overdrive if you find that you miss it for the odd song. [/quote] I love TC gear (pedals are fantastic } but didn't even think to check out the BH series as I thought it might share tonal similarities with it's bigger brother the RH (quite vintagey and tubey). Seems this isn't the case judging from your review and general consensus online, The toneprint feature and the way the EQ works with the cut and boost being different frequencies seems very well thought out. Not to mention 550w. Good call Dood! On mention of Glock, seems perfect but out of my price range sadly!

I know these types of posts are somewhat maligned and I should know better having been knocking about this site for 6 years or so! But, Gonna pull the trigger on a new amp to go with my Markbass NY122, not interested remotely in overdrive, grind or 'hair' (not anymore anyway!) Looking for the purest, cleanest, most composed sound I can get. Something that speaks clearly at volume and doesn't get too mushy. There's so much choice out there it's mind boggling. Budget is £500 there or thereabouts. If any of you fine people could point me in the direction of something that fits this criteria I would be most appreciative

I wonder where it actually ended up? It's not like they disappear into the ether! Half-inched by someone at a depot? Mistakenly delivered elsewhere?

My old Warwick ProFet 3.2 was the opposite. People used to say they were underpowered for 300w, truth being it was one of the few amps with a truely linear volume pot and would keep dishing out power all the way to 10. In fact I'd say it was much cleaner and more powerful than many of it's 300w contemporaries that I tried at the time. My MarkBass LM250 by comparison, has nothing left to give after 60% of the way round the volume pot.

[quote name='sunburstjazz1967' timestamp='1454262496' post='2967991'] Firm uncool things that are not subject to debate :-) Gold hardware. Loads of control knobs like that Brubaker. Any kind of fancy top, spalted or other dead rotten wood. more than 5 strings and 5s are pushing it. Anything with a 'signature' on it. Headless. Short strap to raise bass up as a chin strap. LEDs. Fretless. Single cuts with the top horn near the 12th fret. Fanned frets. Jazz basses with a chrome plate but no guard, rear route should be law there. Feel free to add to my list. People will take offense to any of those that applies to them but I'm affraid joe public would not class anyone sporting those basses as cool, Ricky on a medium length strap played with a pick is always going to be cooler than a spalted apple tree topped, gold hardwared, multi knobbed single cut worn just below the chin. You can tell me I'm wrong and thats fine but deep down you know its true! [/quote] Absolutely nailed it!

OK so, checked all the strings, no vibrations at saddle or nut with a solid break angle so all good there. Did an acoustic test fretting at 24th fret, all good unamplified. Raised the P pickup under D+G and then played through headphones, all seems well. Can't get a proper amplifier test at full pelt done yet though!

Good ideas, I'll test out your suggestions and report back!

Modulus all the way.

Afternoon chaps/chapettes Recently acquired a very lovely German Streamer LX4 from this very shire and decided to string it up with Elites, 35-95 gauge. Playing at band practice last night the D and G strings were practically non existent! Huge volume and presence drop, unusable really. Is this just a characteristic of strings this light? There wasn't a problem with the previous strings (unsure as to what they were, but certainly a heavier gauge). I'm gonna try raising the pickup height a tad on those strings but just wanted to check I'm not missing something or have seriously dud strings. Cheers in advance

In all my years gigging around Oxford I've seen maybe 2-3 5'ers. So this poll surprises me in that respect. I'd say a good 80% of what I see are 4 string Fenders and curiously enough, Yamaha's.

The Cure - Disintegration. Which also happens to be my favourite album full stop.

I know it sounds weird but I really dislike the sound of B strings. So although I've dabbled with 5's (and own one) it's 4's all the way for me.

My Ray 34 had a dead-ish spot on the 6th fret of G so I know the telltale signs, but, my Fender Jazz just doesn't. I've just now because of this thread checked it against all the other notes surrounding it and it just doesn't!