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ThomBassmonkey

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Everything posted by ThomBassmonkey

  1. ThomBassmonkey
    I hate doing this so soon after I got a bass, but it just isn't working out as I'd hoped. I'd been wanting to try one out for a long time but I think I've really found a soulmate with my Sandberg, it's almost completely killed off any GAS, anything else is a curiousity to be explored rather than a serious alternative instrument at the moment. This certainly lived up to expectations though, it plays beautifully and sounds great. Only minor negatives about this is that there's a mark at the end of the headstock where it looks like the previous owner's knocked it against something and the B string doesn't quite have the growl of the other strings (no difference in volume and there's a magnetic B booster kit available from Sheldon for $20 shipped iirc that would fix that). Pics (sorry about the "mood" lighting, I grabbed them with my phone when I was on the way out of the house last night): I'm looking for £800 for this or the following trades (plus cash where needed): Any Sandberg (I'd like a PM5 to contrast my JJ5 but any 5er) Stingray 5 G&L L-2500 Fender J or P V Bongo 5 SUB5 Status of some kind I'll look at any 5ers, bonus points for Jazz or Musicman pickups, maple neck, lightweight, red/black/natural colour. Could consider a cheap EUB (Stagg mainly) I'm not interested in amps (I'm far too in love with GK stuff and I'm endorsed by them so don't need to pick stuff up 2nd hand), warwicks, adding money to my bass in a trade (only exception might be a Wal, depending on how much you'd want, but I expect it'd be a lot of cash difference to make up for a 5er), ibanez, FX, metal shaped stuff, anything with less than 5 or more than 6 strings, blue/green basses. Stuff I could go either way on: white body, fretless, 6 strings, soapbar pickups (regardless of what's inside them), trades for multiple basses (they'd need to tick all the boxes individually though). I'm not really fussy about the condition, so long as the neck and electrics work. I'm [b]very[/b] open to offers though (of cash and basses), offers that involve cash my way are favourable though as like I said, my Sandberg's scratching all my bass related itches at the moment so I feel I only need a cheap backup. If you do offer me a cheaper bass with the intention of making up the rest with cash, please include your cash offer with the offer of the bass (if it's negotiable, say so). I've been strung along for ages before by people offering me a bass I'm interested in, only to finally include a cash offer and it be incredibly low, so I'd rather not do that again. I'd rather not ship, I have nothing to send it in and I don't like using couriers anyway. Anyone seriously interested is welcome to come try it out, I'm about a mile away from J25 on the M1. Thanks folks!
  2. ThomBassmonkey
    AFAIK you need to order them through the shops/distributors. Mark at Bass Direct would know more as he stocks them. Great choice of bass though, I love my JJ5.
  3. ThomBassmonkey
    I've had it a couple of times, last time it was so bad that I actually couldn't move my right hand at all without being in agony. The doc mentioned the op then, apparently it's generally safe, but it's one of the things where if it goes wrong, it can really screw things up. I opted just to work on it myself a bit, do some gentle physio at home as the doc ordered. It's fine now, never bothers me. Think long and hard before you go for the operation if you're leaning that way.
  4. ThomBassmonkey
    [quote name='Ou7shined' post='1174097' date='Mar 23 2011, 11:51 PM']P.S. I'm not anti-bring-a backup-bass, I'm just defending against the suggestion that by not doing so is somehow not doing your bit.[/quote] It's not so much that by not bringing a backup you're not doing your bit. It's more that if you're being a professional, you should try and have a plan B for as many problems as possible. Bringing a spare bass is a great plan B for all of your bass guitar hardware problems. If you have room for one in your car, considering the amount of hassle it could save, why would you not bring one? If you'd just driven halfway across the country to a gig, then your jack socket decides to go iffy (even if you checked before you set off, it has to go at some point, why should it be between a rehearsal and the check rather than the check and a gig?) and you don't have a spare, what do you do? Play with your bass cutting out? Hope that another band would lend you a bass (as said on the other thread, I'd never lend out an instrument, I know a lot of people are the same)? Not play? If it's a paying gig, you really should have something. There's only so many examples I can give of why a backup would be important, it should be obvious why it's important to try and make gigs run as smoothly as possible. Not taking a backup bass because you couldn't be bothered to pick it up on the way out of the door strikes me as odd. I don't want to offend anyone here, but if I was in a band with someone that was prepared to risk having a gig not run smoothly because they couldn't be bothered to spend 2 extra seconds picking up one more thing, I'd seriously question their commitment. If anyone can offer a good reason not to take a spare bass (assuming there's room and no other constraints on physically getting the bass to the venue) to a gig, I'd be interested in hearing it. Things like "I haven't broken a string in X years" or "it only takes 2 minutes to change a string" are kinda irrelevant because you could break a string at any time, even if you've never broken one and it only takes 10 seconds to change a bass.
  5. ThomBassmonkey
    [quote name='Ou7shined' post='1174108' date='Mar 24 2011, 12:04 AM']there's always some helpful Herbert (like myself) who will offer.[/quote] Regarding this, you're a lot more daring than I am. I'd never lend someone I don't know one of my basses. Until I got my bomb proof rig I didn't even like lending my amp out. That's without even thinking about people sweating all over it.
  6. ThomBassmonkey
    My band gets paid to put on a show. If we're messing about changing strings during a set then we're not doing our jobs. Even a guitar change (with the help of a roadie) can break the flow if not handled properly. Even a "quick" string change is approaching the length of a song.
  7. ThomBassmonkey
    Get y'sen down to The Music Shed and stick up a "band wanted" ad on their ad board. They have equipment hire there so you can hire amps for practices and your gigs until you can afford your own gear.
  8. ThomBassmonkey
    [quote name='Ou7shined' post='1173968' date='Mar 23 2011, 10:09 PM']I know mate I was being facetious to make a point. If all you are scared of is snapping a string then presumably a spare set of strings would (to carry your argument further) take up significantly less room than a whole bass?[/quote] I would take a spare kit if possible, trust me. It's not what's available whilst taking up less space, it's about what's available whilst actually being able to fit everything. Obviously if we're out of space, things like spare cabs and spare basses are the first things to be sacrificed (in fact I rarely get to take a spare cab as I only have a Ford Fiesta and I can't fit both mine in). A spare set of strings would be enough if snapping a string was the only possible problem. Faulty electrics, your bass being nicked, being knocked over and taking the headstock off, tuning peg snapping and rabid donkeys coming and nibbling the bridge off are all potential problems that could arise at a gig through accidents, idiots or just chance. There's things that, without taking a spare, you can't prepare for.
  9. ThomBassmonkey
    I turned down an amp endorsement offer a while ago so I could persue a Gallien Krueger endorsement. It worked out well but if GK hadn't endorsed me, I'd still be using their gear (like I was before the endorsement), just a smaller, cheaper rig. So no, I wouldn't accept an endorseent offer if I didn't like the gear.
  10. ThomBassmonkey
    [quote name='ThomBassmonkey' post='1173939' date='Mar 23 2011, 09:42 PM']surely you'd make a point of taking backups for [u][i][b]everything possible.[/b][/i][/u][/quote] [quote name='Ou7shined' post='1173950' date='Mar 23 2011, 09:54 PM']Does your drummer take a backup kit? [/quote] It's not really possible to take a spare kit. Our drummer takes spares where possible, some cymbols, snare. I don't take a whole spare bass rig either. A spare bass guitar takes up significantly less room though and is practical in most situations. I'm going to play a festival in Holland in a couple of months, I won't be taking a spare bass because of restrictions on the flight and I break out in a cold sweat every time I think about it. My basses are reliable, but playing 3 days in a row without a backup and being payed a fairly significant amount of money to do it is quite scary.
  11. ThomBassmonkey
    I'm curious, the guys that don't take backups, what kind of gigs do you do? I could imagine it if you only played the local every so often, but if you're being paid for gigs or really trying to make a good impression, surely you'd make a point of taking backups for everything possible. Asking someone who's paying you to do a job to hold the gig up because you need to run home and get another bass if something happens wouldn't leave a good impression. Unless you can be 100% certain that you haven't got a dodgy set of strings on, no one's going to knock your bass over and damage it, no thieving &%$@ is around or any other number of unforseens, it seems a risk not to take a spare, regardless of whether it's a similar backup or if it's a totally different bass.
  12. ThomBassmonkey
    I always like new toys. I can't ever imagine moving away from my current rig permanently, but I do want a lightweight rig for when that's overkill (which is, if I'm honest, most of the time). After playing the MB and Neo series gear from GK at the LBGS, I'd definitely describe it as GAS.
  13. ThomBassmonkey
    At some point, someone's gonna annoyed at me always suggesting them, but...GK They do a 500w @ 4Ohms valve preamped head that only weighs 4.5lbs. Sounds great and I'm hoping to pick one up myself soon. The MB Fusion
  14. ThomBassmonkey
    I've been playing around with various basses for a long time, a few months back I found my Sandberg JJ5 and I can honestly say, every bass I've heard since just doesn't quite have the same feel about it, so fat and punchy. It's exactly what I want from a bass tone. Couple it up with my GK rig and I honestly think I couldn't improve on it to my ears. So to the question, I've been keeping my ears open with what to use as a backup, my beloved Thumb (now moved on) didn't quite cut the mustard any more, I traded that for a Dingwall and although that sounds brilliant, I find it doesn't have the same depth and fatness as my JJ5. I've toyed with the idea of a SUB5 or L2500 (or even a Ray5) for the fatness, but am I just wasting my time when they're playing backup to a Jazz? Am I going on a goose chase to try and find a different tone I like or should I find a proper backup? Worth noting that backup is just an excuse to fulfill GAS, though I do need a spare bass of some description. So do you guys have a main player and a similar backup? Or do you have a few basses that you like for their own merits and they don't really resemble each other? Or have you found one particular type of bass that makes your ears orgasm and you've got different models/brands of the same style bass?
  15. ThomBassmonkey
    My Washburn XB100, my first bass. Ibanez BTB406QM, the bass I went through college with. Used it for about 6 years without even considering a backup or new bass, then I bought a cheap 6er from Rondo and it never played one gig. Both are a big part of my bass playing history and neither will be worth anywhere near enough to make it worth selling off the emotional attachment I have to them. I'd like to say that I'd never sell my Sandberg, but who knows? I really love that bass but I have no sentimental attachment to it and it's worth a few bob.
  16. ThomBassmonkey
    A note about Marshalls that's being overlooked, guitar valves need to be pushed to sound good. More speakers = more volumes, you either use an attenuator, sound crap or push the volume. With a 4x12 without an attenuator you either sound crap or are way too loud for a small gig. Valve bass amps don't seem to suffer so much from low volume.
  17. ThomBassmonkey
    [quote name='Truckstop' post='1172234' date='Mar 22 2011, 03:52 PM']If you don't tell us then we won't be able to make sweeping generalisations about the use of effects[/quote] Of course it doesn't matter, because people only use FX to cover bad technique!!!
  18. ThomBassmonkey
    They're lined, but rather you than me.
  19. ThomBassmonkey
    Thanks for the advice, I'll have to look into it. I might go the route of a clear scratchplate with a printed design behind it.
  20. ThomBassmonkey
    The intonation thing probably isn't that big a deal. The longer the string, the more room for error there is. If your intonation's out by 1mm on a 34" string, it'll be more noticable than if it's out by 1mm on a 37" string. In saying that, it probably won't be that much of an issue for single notes on either unless you're playing chords, which you'd probably only be doing on the hgiher (i.e. shorter) strings anyway. Most of the biggest artists ever have had fixed length basses, it can't be that much of an issue. Things that affect individual strings (intonation, tuning stability, tension etc) are the same age old debates that have been going on for years, is a 36" scale better than a 34"? It's all tastes. Things that affect strings relative to each other is relative string tension, relative timbre etc. IMO, those are improved on a fanned fret bass. Does it make them better? Nope. Does it make it an option worth looking at and considering? Definitely. Does it mean I'm going to ditch my 34" jazz bass and make my combustion my main player? Who knows.
  21. ThomBassmonkey
    I got a Dingwall Combustion yesterday, the things I've taken from it so far: The strings feel great. They're seriously even in tension, no floppy B strings here. Acoustically the strings sound more even too (on most basses I've played, the lower strings sound bassier, even playing the same note). On a negative, the B string doesn't sound great, the whole thing has very low output. Both of these I put down to the electrics. Neither are enough to really turn me off the bass, but it definitely goes to show there's more going on with the low B than scale length. Sheldon's made some kits available that help with the problem on the B string and pickup replacements are available that should fix it, so it's obviously a noted issue. I've been through different phases with how I view Dingwalls from loving the concept to thinking it's pointless and a gimmick. I decided the only way I was really going to find out was to try it for myself so I jumped at the chance when I got offered one in a trade. I only got it yesterday and it's only had one quiet gig today, I think the problem with volume and B power won't be as much of an issue if I can crank my GK a bit (and if I replace the electrics it should be fine anyway) but at the moment I'm really enjoying how it plays. Despite having played a 35" scale for 8 years and 34" for the last year, I still easily notice the difference in tension between the different strings, this helps a lot with that. If I can get it to sound right, it's definitely a keeper based on the feel of it. My 34" Sandberg JJ5 sounds great though, every note is defined right down to the low B, the string tension is alright (obviously a 34" B has less tension than a 37" B, but it's never caused me problems). I'm going to keep playing with my Dingwall because it feels so nice to play and hope that I can resolve the electrics issue.
  22. ThomBassmonkey
    I thought the bubinga thumbs were the NTs, I had a German Thumb BO and it was ovangkol body and neck with wenge fingerboard. I don't know if it's changed though, that was a 2002 one.
  23. ThomBassmonkey
    Oh and something that's obvious that we've all forgotten to mention is get in a sound guy that you know is good and not afraid to critisise and get him to listen and give advice. Even if you have to pay for him to come in for one night, if you sound terrible then you won't get re-booked and people won't want to buy CDs or come see you again. Paying for a soundguy to come sort your sound out for one night could mean more gigs and more merch sales. There's a guy in Derby that works a venue we play regularly, I'd almost trust him over my own judgement in terms of what sounds best. Whenever something new gets introduced (new gear or sounds) I always ask his opinion. He's always constructive and if he ever has any negative feedback, I always look at what he's said and see what I can do to fix it.
  24. ThomBassmonkey
    Large cabs don't have to be loud, if your guitarist invests in an attenuator he can turn down his volume without losing any of the tone. Depending on what head he has, the EQ isn't always so bad on them. I used to play in a band where one guitarist had a TSL with a 4x12, it was always loud but even without the attenuator, we still managed to get a decent sound. At band practice sometime, you could set all your amps up along one wall (preferably the same wall as the PA speakers and drummer) and all (apart from the drummer of course) stand at the opposite end of the room and see if you can get a nice sound in there. Obviously gigs are going to be slightly different, but it's a good start.
  25. ThomBassmonkey
    It's hard to make suggestions without hearing, if it sounds like a mess then there's probably two things going on. You're too loud. If you're playing small venues and no one really understands EQing as a band, chances are that the volume is going to be too loud too. EQing is fairly obvious when you talk about it, your bass should be EQd for the lower frequencies, rhythm guitar higher and lead instruments more trebly (within reason), it's much harder to actually do though. Try and play one instrument at the time, so start off with drums. Then add in bass, you should try and be bassy, but without being muddy and with enough mids and treble so your notes are all defined. Then add in the rhythm guitar, try and EQ it so that it sounds very fat in the mix, enough bass to fill out the sound but not so much that it interferes with you, mids and treble need to be there so that it fills out the whole sound. Then the lead guitar needs to sit on top, still enough bass that it doesn't sound weak, but it should sit a higher in frequencies than the rhythm guitar. You want to balance the whole thing around your vocals though, vocals are the main thing that people listen to in bands, if your singer has a very high pitched voice, she should be sat around the lead guitar's EQ. If she sings a bit deeper, you could make space between the rhythm and lead and EQ the lead slightly higher. Without hearing your band, especially hearing it live, it's very hard to tell, but that's a basic way to work it out.
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