Johnny Wishbone

Pretty sure I saw Mark Hoppus using one when playing "Miss You" live.

The annoying thing is there used to be a very convenient 24hr car park bang opposite the Boardwalk. So they built a hotel on top of it and put double yellows all the way up the street!

[quote name='farmer61' post='382035' date='Jan 16 2009, 08:44 AM']Is it just me or does Lars Ulrich come across as a bit of a knob![/quote] It's not just you. He's a massive c*nt. And a sh*t drummer. For absolute comedy gold, get hold of the St Anger DVD and marvel at him failing to keep up with the other guys in any of the songs.

Justin Chancellor & Adam Jones - The interplay between these two is amazing. I love listening to them twist and morph riffs from one section to the next. Tim Commerford and Tom Morello - In total unison during their riff-tastic moments and each compliments the other's playing so well when they're both off doing their own thing. +1 for John Frusciante/ Flea and Dave Navarro/Eric Avery.

Tim Commerford - RATM/Audioslave Robert DeLeo - Stone Temple Pilots/Army of Anyone Justin Chancellor - Tool

Yeah, I should have mentioned that when I said "a few bob" I didn't mean a small fortune, just more than I'd reasonably expect a well-used Boss chorus to go for!

Hi all. Time to ask the oracles of Basschat for some help once again. I'm having a bit of a financial crisis at the minute and BassManKev's post about the rising price of second hand FX got me thinking. I've got four pedals lying around that I no longer use and I can't see myself using in future so I've decided to try and get rid and hopefully make myself some quick cash. Amongst them is (as the topic title suggests) a Boss CE-2 Chorus which has a black label on the bottom stating that it was made in Japan. I bought it used about ten years ago and it's a bit battered cosmetically (various paint chips and the rubber on the bottom is a bit pitted where it was glued to my pedalboard) but it still works perfectly. A mate tells me that the Black Label MIJ Boss pedals are worth a few bob these days. Is he pulling my leg, or can I expect it to fetch a a decent price if I sell it? Your advice is, as always, much appreciated.

[quote name='synaesthesia' post='235870' date='Jul 9 2008, 04:45 PM']Try IEM for a while to see if it works for you, but try the full IEM, with a mix of your stage partners, as opposed to one ear bass only IEM (which IMmostHO doesn't work well).[/quote] No worries - I won't be trying that. Think I tried a similar thing with earplugs once and ended up feeling quite disorientated (plus the ringing in just one ear afterwards, which is even more annoying than having it in both!) Thanks again for your advice.

[quote name='synaesthesia' post='235317' date='Jul 8 2008, 10:11 PM']In all seriousness, if you can hear everything else: Step 1: Review your bass rig if that's the case, it may be your speakers, your strings, your EQ/tone settings, your pickups, pickup selection/blend settings, etc if you can't hear your amplified bass it may be because you have a freq. dip in the rig, not enough mid range, poor dispersion in your cab, etc Step 2: turn down the rest of the band. Step 3: feed some bass to the wedge monitors Step 4: learn to hear yourself on stage, or dial a tone that allows you to hear yourself. Cut the low end and cut out the muddy boom. Your stage amp is more often than not a stage bass monitor, assuming you have proper PA support. You can dial whatever tone that allows you to hear yourself readily and feed a pre EQ tone to FOH, assuming your gear allows you to do this. Your situation may be different if you use efx on your bass or need a grungy tone.[/quote] I see what you're saying, but: 1) Used the same bass/rig for years, aside from my amp head which I've upgraded to a GK 700RB-II about 6 months ago. Following the upgrade to the GK I could definitely hear myself better (much cleaner/crisper sound) and my EQ is set flat, bar a low mid boost of about 10-15%. I used to use a really bass-heavy scooped EQ setting on my old amp, but following the consensus here on BC that it's all about the mids, have rectified this and definitely noticed a massive improvement in clarity and audible volume. I also began using earplugs about 8-10 months ago and found I was able to hear myself better as they cut out all the cymbals etc. I'm pretty sure it's not my tone itself that's the problem as up until a couple of months ago I could hear myself fine. Bigger venues aren't so much of a problem as the engineer is less worried about overspill/boominess from the backline and I can get away with a higher stage volume (plus I can usually get a tiny bit of bass through the wedges). I'm well aware about the consequences of playing with too high a stage volume in smaller venues so I've always kept the volume down, but it seems that recently I'm being asked to play at such low volumes that there's barely a peep coming out of my speakers, even when the rest of the band aren't playing. 2) Drummer is very loud (although not as loud as our previous drummer) so our overall stage volume needs to be quite high. It's certainly not unreasonably loud though. If anything, it's lower than it used to be. I think as you become more experienced you learn that the lower the stage volume the better it is for everyone, not just the sound engineer, so we try and keep it as low as we can, drummer excepted. 3) Very few venues around Yorkshire/Midlands (or indeed any I've played nationally) have half-decent monitors, and even fewer put anything other than vocals through them. In the few places I've had a wedge, it's definitely been an improvement (except the sound quality itself is pretty awful, but at least I can hear something!). I used to be able to manage quite well without monitors (at the very least I could feel the bass through the stage floor). 4) I do use a lot of effects (always have done) and always send a pre-EQ signal to the desk. I guess I could try boosting the mids further onstage to see if that helps. The general consensus amongst regular gig-goers round here is that my bass always sounds huge out front. I've been gigging for 12-13 years (heavily for the last 3-4) so I've a fair amount of experience (although not compared to some on here, obviously) and I'm pretty sure the problem isn't with me or my rig. Our singer has also remarked recently that he can't hear me as well as he used to, which is something of a problem for him as he takes his cues from the bass (he reckons I'm a tighter player than either guitarist). As previously mentioned, he uses IEM's and has in the last few gigs resorted to having the bass fed into them, whereas he's never had to have anything other than vox in them previously. Thanks for all your input guys. I really appreciate your advice. I'm starting to wonder if IEMs are the answer for me. What you say about having the rest of the band in them (rather than just bass) so I can play more accurately with them makes sense, but the quality/size of PA's/monitors commonly in use on the unsigned circuit, plus the lack of set-up time (caused by many places booking 4-5 bands a night) would render IEMs largely impractical I guess. We do have some wedges lying around in the rehearsal room, so maybe I'd be better taking one of those to gigs and using it just for bass?

Sorry - I should elaborate further. I have tried wired IEM's before (our singer has an old set lying around from before he went wireless) but I found the wire pretty restrictive as I throw myself around a lot on stage. The earphones kept flying out of my ears too. I do have trouble with earphones in general though as I have very small ears, so maybe it's a just a case of getting some well-fitting earphones like Shure E2s and persevering with a wired set-up? The cost of wireless IEM's does look fairly prohibitive, and I can't really afford £150-ish for moulded earpieces on top of that. I don't have any trouble hearing drums, guitar or vocals on stage, so perhaps I should look at running the IEMs direct from the headphone socket of my amp (assuming it doesn't cut output to the speakers when in use)?

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Just recently I've started to have trouble hearing myself onstage at gigs, thanks largely to the oppressive stage volume levels enforced by sound engineers (seems to be a recent thing - I've not experienced this problem in the past, and I used to play much louder). I've tried raising my amp to ear level but whilst it's an improvement it's not an ideal solution, so I'm starting to think seriously about in-ear monitoring. Obviously there are quite a few systems out there, so I'd appreciate the benefit of the forum's collective experience. Weight isn't an issue really, but bass reproduction (obviously) and cost definitely are. Am I able to get something half-decent without getting my ar$e handed to me over the price? Or am I realistically looking at a substantial financial outlay whatever I choose? To give you an idea of budget I'd consider spending up to, say, £300 at a push. Over to you.....

Got both mine from Diago: [url="http://www.diago.co.uk/component/option,com_virtuemart/page,shop.browse/category_id,3/Itemid,206/"]LINK[/url] Very good quality and quick delivery. I use them with a Rocktron DC On Tap with no problems.

[quote name='beerdragon' post='226044' date='Jun 24 2008, 05:19 PM']sacrilege! [/quote] Hey, each to their own, right? I love the first part of the song but as soon as that fiddle cranks up it has me reaching for the "skip" button every time!

The Who - Baba O'Reilly. That whole violin bit which makes up pretty much the whole second half of the song! What's that about?

[quote name='mike257' post='216815' date='Jun 11 2008, 01:10 PM']Really? I always figured he had two 105Qs running because of his crazy three amp set-up. He's got one rig always on clean through an 8x10, then a whole extra head and 4x10 he adds in for his dirty tone, with a [b]third[/b] head and cab he kicks in for the monster filth. I thought those two Crybaby's were patched one for each dirty amp. Hell, i'm probably wrong though!! It happens a lot [/quote] You could be right there. You're bang on about the three-amp rig, but I'm not sure whether he runs the pedals to seperate amps. Certainly a possibility. The key to "that" sound though, is (I think) the use of opposing settings on the Q control (or modifying each tone circuit for the same effect) so that each pedal affects a slightly different range to the other. Mix the two together and you've got magic!