Prime_BASS

MM necks are pretty amazing for price, and I prefer the tint on the maple ones. Quality wise is on par with CIJ/MIJ stuff, if not better in some cases. I had a jazz neck on a P once, it was a little fat but felt more comfortable than a fender standard jazz neck.

Surprisingly my old sterling has quite a deep neck specially close at the nut, even compared to the ray.

[quote name='MoonBassAlpha' post='1353429' date='Aug 27 2011, 11:09 AM']Well, I tried it out on a gig last night - I really liked the sound, and the bandmates did too! I'm not playing any slap, for which this would work really well incidentally, but the attack of the notes when you dig in is nice if you want it, and rolling the passive tone off to about 2/3rds takes it back to "normal" when the click isn't required. I love the Compact, but find (so far!) that this gives the extra dimension in tone I was looking for, and 1 seems plenty loud enough, I really cant see any need for 2 with 1 cab. Here's some pics, In typical fashion, it's not finished cosmetically, I built it at lunchtime, gigged in the evening. I'll probably knock the rough edges off sometime. It's got Velcro now to stick it to the Amp to stop it jumping around: [attachment=87995:Tweeter_1.jpg] [attachment=87996:Tweeter_2.jpg][/quote] I'd love to hear this. I only have the tweeter on the super12 on lightly to like you said add "air" even in a mix it makes a big difference.

[quote name='StevieD_FenderP2009' post='1354459' date='Aug 28 2011, 04:26 PM']Why? 'cos I'm bored haha. I was playing through an Ampeg with a horn and 3 porting holes which sounded fantastic and just had that extra top end my Marshall's dont. Didn't realise porting was speaker specific to be honest. I'm definitely going to fit a horn in the cabinets though. Speaker value? Roughly £200 a piece apparently. But if you don't think it'll benefit from porting, I'll leave it be. Tools for it? The head of an Epiphone T-Bird will do just fine xD[/quote] If you want high end, porting won't change that. Having a port on cabs is sully to increase the low end ouput and smooth out the low end roll off. Lots of variables to consider though. Speakers are sometimes designed to be in certain boxes with or without ports but It's not really a deal breaker. I would say focus on a tweeter box, trying to port cabs is a dangerous and mathematical nightmare IMO.

[quote name='rOB' post='1355101' date='Aug 29 2011, 11:34 AM']if everyone understood this then the world would be a better place[/quote] Quieter yes, better? Debatable.

[quote name='stingrayPete1977' post='1354285' date='Aug 28 2011, 01:03 PM']This is why the unlearned think an MM is a one trick pony, fact is they rely on pup configurations for what should be technique changes [u]complimented[/u] by pup choice.[u][/u][/quote] +1 I think it looks cooler to changed technique than spend precious seconds turning knobs. I'm not deluded in thinking that I can achieve anything by playing different, but for me it's much easy to get a more sifter tone by playing softer with fingers up at the neck than cutting treble for example.

If you can achieve sufficient loudness across th entire room with something smaller than what you have, it's too big.

I like Mark hoppus' octopus design on his signature he uses live.

D'arddario flats are very good IMO. although with tounfs, filtering off some high end and playing over the pickup does the trivk, depends what you what though.

I don't mind it. My favourite bassists old signature model came with stickers on, and a different set on the 5 string model, made it truely different from any other fender.

[quote name='Ou7shined' post='1354003' date='Aug 28 2011, 12:01 AM']Most dynamic? Musicman. Single most useful? Humbucker in P position. Heaven? Both. [/quote] This, for what ever reason the musicman pickup "sweetspot" is the best I find at sensing the different tibres. P position can be good but I find less so when digging in at the bridge.

[quote name='chrismuzz' post='1353233' date='Aug 27 2011, 01:27 AM']More wise words from a true bass guru! I've really let the technical side of my playing slip back a bit while i focus on being able to groove a bit more. Playing one note for 5 minutes and making it sound interesting is more important that playing a hundred notes in 5 seconds and it being boring[/quote] Indeed. When I listen to old blink182 stuff, it's strange how interesting they make 4 chords sound. Particularly on Carousel, the best opening bassline in that genre, ever. Part of it for me is having fun, then it starts to sound fun. Hopefully for everyone else too.

The unofficial bassist for the pillows in Japan religiously uses an Acoustic setup, but he also uses a procoRat on all the time, sounds fine I guess but it isn't too defined around the top end, but that could be a multitude of things.

Personally, I'm in the camp of "lieing is bad". I realise a lot of manufactures do this but 236 is a far cry from 450watts, regardless of how well it "manages" it's power. Don't get me wrong I like it, it's loud, it's full of useful gubbins. Reason I changed back to markbass. To me it performs better at rehearsal and gig levels. Thats about it. If you like what it does don't let the power rating bug you. Simples

2 years is really short amount of time. I've been playing music for over 8 years, and I still suck. It took me over 3 years to "master" a guitar solo, and I still never learnt it properly. Start playing to enjoy. It's not a competition or a race. Personally, I'd love to find space in songs to slap or tap or increase finger speed seven fold, but honestly it's much more enjoyable picking my through the songs, more comfortable so I don't have focus as much and the whole thing becomes more enjoyable.

[quote name='BottomE' post='1352579' date='Aug 26 2011, 03:25 PM']Which is fine if you know your bass is setup correctly. Only problem with this is that its harder to setup intonation if you can't track the bottom E.[/quote] I would hope intonation would be set correctly before you are at a gig and need to tube up.