Prime_BASS

Personally I don't like using the tech 21 stuff for warming up a signal. My personal favourite is the Xotic BB bass preamp, I have 2.

Yeah same, here lots of positive comments and in reality if the only thing that was wrong was dodgy countersunk screws then there was nothing to worry about. I've seen far worse on more expensive basses.

[quote name='GazWills' timestamp='1384615229' post='2278777'] soooo, Xmas approaches - time to break out the festive pedalboard lights I've tried a few new drive pedals recently, old and new (storm distortion 10, oxfuzz bass), but I just keep coming back to the BB and the TFR! [/quote] Life isn't worth it without a BB preamp. Sibob is making me up a clone now so I'll have three soon.

Don't waste that finish on bedroom playing. Get it out there where it's meant to be.

Lots of complicated answers to solve an issue here. The facts is there will be a significant jump in volume with using either a clean boost pedal (set high enough to make those pre amp tubes growl) or switching the gain switch on the amp. It's basically an attenuation switch for how much voltage is going through the preamp tube. The simple answer is to use an overdrive pedal. There will be one that has a rough estimation of the sound of the streamliner. The magic in the streanliners drive sound is the 3 tubes it has, each adding another layer of harmonic distortion. The overdrive pedal will be going through these same tubes. Plus you can set the levels right so you won't deafen anyone at a gig with feedback.

Well if it is a new one with the apparant 'hot' issue then I'm sure it's fine. Could check your pickup height etc, you be surprised on the volume/output that can be achieved. I had an OTB and my god that's a good class D power amp.

[quote name='Musicman20' timestamp='1384507874' post='2277413'] I have never played in anything that is purely 'metal', as I always have and always will much prefer anything that is punk/hardcore orientated when it comes to more aggressive music. One of the things that I really dislike about most the metal bands I've heard is the guitar sound. QOTSA are by no means a metal band, at all, but a good idea of what I think a heavy guitar sound should be...eg not totally overdriven, warm, crunchy, and I guess more traditional. The poor reception bass players get in metal is probably why I much prefer modern punk, (see Rancid, A Wilhelm Scream, NOFX). [/quote] NOFX are mint live

Too many metal guitarists are sad pale white kids who sat in there bedroom too much. So inherently use too much low frequency in their own sound. This producer guy wants 'big' guitar sound and completely misses the point that that is what the bass does. It's like how the few metal heads I've asked can't discern that the main riff in Calm like a Bomb is done on a bass.

Not seen the talkbass thread myself but by lack of info anywhere I doubt there is any worth anything there.

[quote name='GazWills' timestamp='1379591287' post='2214496'] or they might NEED a better technique? I'm amazed this thread is still going! Surely you can just do whatever you want with music, that's half the fun. You don't NEED effects in the same way you don't NEED a bass - the white stripes managed to shift a few records over the years. Presidents of the USA didn't have a bass, and they only used 2 and 3 string guitars... You don't NEED (insert anything here), there are no rules! But as many have said, I'd like to see someone try auditioning for the role of bassist in a dubstep band with just their trusty P bass, instrument lead and amp, and no FX! [/quote] Only if that's the cause if the problem, many strings have oddly inconsistent output, and we all know the weird G string issue on stingrays. Also it's far easier to stick a comp in line than to actually work on technique. I auditioned for a dub band, and they just as to plod with the guitar, a keyboard synth guy did all the crazy stuff.

To me the amount of watts an amp has is just an indicator how much it needs to be cranked to get a desired or max SPL out of a cab.

Only have a Diago commuter and I now have 2 more pedals coming in. Oh no.

The thing is you play bass, and with that the stigma that you can't really play. If I was in your position I would think I have two options. 1. Write pretty much most if the basic parts to songs, and find people who are willing to take a creative backseat. Also finding people with the time/energy/resources to be involved on a semi pro time frame but without getting much in return in terms of finances. 2. Start something that is pretty much never going to be mainstream. IMO the most successful bands/artists are ones who are listenable but are doing something very different. You may not make millions or perform at reading but if it's good enough you'll get some form of return. As always the trick is finding the right people. I've been in the same band since I started playing bass a good few years ago now, and finally we are somewhere that I'm happy with creatively and that we can keep consistent.

[quote name='NJE' timestamp='1384021718' post='2272061'] Well I haven't been to Bass Gear or Bass Direct yet, simply because I have been having a slight mental breakdown figuring out what I need and what I can move easily without spending £1500. I am on the verge of changing the whole rig at the moment. Because I have always had relatively low powered heads I have always had 4ohm cabs to get the most out of them. This limits my choice of single cabs to an extent, so I have been thinking about higher powered heads and not necessarily driving at 4ohm. Looking at possibly going to a Tonehammer 500 or the AG500 at the moment (although tempted by a EBS HD350) and starting off with just a single DB112 cab until I can get one secondhand somewhere. On the off chance, anyone using a single DB112? [/quote] Just saw you are using the reidmar. Have you thought about 2 EBS classic line 1x12s I don't know what the DB112 is like at all so can't comment. As far as heads go, there are some that hold their power a lot better than others and I found the TH500 a little quiet and something lacking in the preamp. Genz shuttles are dirt cheap now new and I always like Markbass stuff. The Orange Terror bass 500 is a loud monster, but rather featureless, but it will put out 500 watts into a 4 or 8 ohm load.

The technical aspect is for me the one reason to get a status graphite neck. A custom wood jobbie would be cheaper but you'd have to weight till it's finished obviously.

I have a fretted graphite replacement on my jazz and I would say overall they sound relatively the same. Although the graphite has no dead spots and the string to string out put is very even. That alone sells it for me, along with it being super rigid, setup when I put strings on and it's stayed the same since. Overall I don't think I'd go back to wood necks unless I could play it first thoroughly. Negatives, a bit more fret noise that highlights my piss poor technic but you are after a fretless.

I may have missed some detail in this but what happened to have you fork up the full amount before completion? I have only recently got into custom stuff and every time it's been a case of pay a deposit and then the rest upon completion, and I've actually seen a picture of my item before I have paid the rest off.

[quote name='GazWills' timestamp='1383856107' post='2270137'] cheers for posting - though they lost me with "One easy way of getting some great bass distortion happening is to use plugins" have an LS-2 in my hands now though, so experimentation ahoy! [/quote] If you like what you are getting overall with the LS-2 then is see a move to a custom line selector. The one thing that bugs me on the LS-2 is you can't have either A or B on or off and both all at the tip of your toes. I'd have a trifle through some of sheps content and his site, as his big board was a load of dirt and modulation in parallel to octave and chorus, using the LS-2 for a while then an [sfx] looper

Since I started playing fender or fender looking basses and playing with a pick the band as a whole has had far more complements overall with one sound guy exclaiming "someone who can play his instrument properly" I'm not sure if it's a coinsidence or we are generally better overall. It shouldn't matter about looks but unfortunaly in my experience with many bands it just is. Looking the best comes before being the best I'm afraid.

[quote name='ambient' timestamp='1383826546' post='2269582'] Isn't the Pino bass a custom shop instrument ? When I looked the other week it was something like £3,000 from GAK . [/quote] Can almost get a bass that looks new for that. A serious note though, the price is suffering from taxes and import duties etc.

[quote name='GazWills' timestamp='1383776029' post='2269109'] cool, cheers for confirming! I'm borrowing one from a mate initially, not sure how killer my idea will sound yet [/quote] [quote name='pantherairsoft' timestamp='1383810195' post='2269279'] Like Ste says. Yes. I would consider having the OD in one loop and the fuzz in the other though then you ca. Blend them together, or blend either with a clean signal by turning the other one off! [/quote] For what it's worth, I used a LS-2 for a similar idea. Two different levels of dirt in seperate loops but in the end opted for all the dirt in one and stack it when necerssary. So I have a fat clean sound all the time. Once you get your hands on it just experiment with all the options you have with it. You may find youll like something you never thought of.

[quote name='Musicman20' timestamp='1383818915' post='2269424'] I've not owned, and I doubt I will own, an old bass. My first decent bass was a Fender Precision White/Tort/Rosewood, 1995 ish, MIJ. It was one of the Reissue 62 models. Nice bass, started my enjoyment of P basses, but made me also think the P bass tone was a little bland sometimes. At the time, they weren't fashionable, (although P basses are always popular) and no-one seemed to be raving about a P bass with flats like they do now. Everyone still raves on that MIJ basses have a certain quality that cannot be beaten, a bit like the whole market on the JV Squier basses. It was a good bass. Very good for the money. Better than a modern American Standard? No. It made me realise how simple a P bass is. No manufacturer should be charging £3000+ for a modern P bass, no matter what. It's a really simple bolt on design. I do understand how the desire for these vintage basses works, especially the early Fenders, but if it comes down to it, I can pretty much guarantee that a modern American Standard P bass, with old flats, the right setup, and a more vintage flavoured amp will get the same tone. Even just using a VT bass pedal will get you close! [/quote] I think it's price point against quality, especially if we go into the second hand market. My first proper bass was a MIJ jaguar and the build quality was excellent and it was nice touch that some guy whose initials were written on a tag set it up and the intonation and action didn't budge till I started messing with it lol. I've had a few American fenders too and I wouldn't say they were made any better, for one the routing on my current MIJ is top notch. Although every American fender I have owned I never felt the need to upgrade the pickups or electrics. The one old bass I have owned briefly was crap, but the neck felt really good, a worn in fretboard edge is a whole lot more comfortable than the last American standard I played on. For me thats one reason to buy an old one.

Going to throw Sandberg in the mix. if a relic is what you are after, I'm not sure how custom custom is, but from the gallery they'll make next to anything. Personally, if I wanted the roadworn look I'd get a nitro finish and then let it wear out naturally.

Yes. You can. You could say even, use each loop. But the way you describe it you can turn the fuzz off and have blended cleans or the overdrive off and have blended clean with the fuzz. I have an LS-2 for sale too.