Prime_BASS

Well I when I go samples I use my amp head. Built in DI and headphone amp, fits in my gig bag. Easy job done. There are a few different things, active or passive, some with Eq options etc, you have to find what is right for you. But make sure the venues PA is happy with the bass going through it too.

[quote name='4 Strings' timestamp='1372892998' post='2131461'] Here you go, pretty much identical to the US Jazz deluxe I swapped for a Stingray. [attachment=138248:Fender deluxe bridge.jpg] Just a variation on the BBoT theme. They had the multi-grooved saddles in the 60s, and all US basses are through body with the top loading option. I know they're really crude, but that could be seen as elegant. [/quote] Fair enough but but still limited to very few models.

If I could find a decent cheap wireless headphone amp, I would use some sort of cab sim DI. But that would also mean every gig I went to would have to have a decent PA to pump it through room. I can recall all but once when I was happy with the on sthe mix and it was when I had a wacking 8x10 in my ear and my monitor purely for vocals. The racket made by others was audible enough.

Personally for the majority of stages its bass monitoring, as the on stage monitors simply don't cover bass or do a decent enough job. Also a variety of PA's will not cater for bass. And many shows beyond pumping LF around a room they are useless at driving mids around a room. Also the DI on the amp head is no better or worse than what is available in standalone forms or on any programmable floor unit. Outside of my own exerience, there are proably thousands upon thousands of players whose rig is the only bass available in the room, along with every rehearsal room the Pa is strictly for vocals only and same goes for every rehearsal I have done outside of renting a room. Also a line 6 pod doesn't have valves, duh. I ask you, how you get by without an amp full stop. Audience might struggle hearing you without one in a coffee shop gig whete he PA is the same size as a matchbox. Although I do understand your confusion over why people equate amps to tone. My dry sound straight to desk is how i like it, I've already compressed and EQ'd it so it needs no further processing, and if evrryone did this they would end up with a power amp a.d a abrogated big twin.

GAS and an Empty Wallet.

Bored of talking about = Fenders. At least every squier I've played has been on par with every bass ever, should have saved all that money wasted and brought a lord.

[quote name='Mykesbass' timestamp='1372887472' post='2131335'] Is it a PubCo pub (Enterprise Inns, Punch Taverns etc) they're dropping like flies around here. [/quote] They're doing great round here, but not likely since they generally don't hold live music in the pubs.

[quote name='4 Strings' timestamp='1372865611' post='2130902'] You mean one that's adjustable for individual string height and intonation? Oh. [/quote] Along with adjustable string spacing, and thru body aswell as top loading, oh.....

For me they are easily accessible instruments that people can afford. And there is no harm in that. They are readily available from probably 90% of your average music shop. Even a local one had a range from squirt to US standards, although they all play a bit poop cause they've never seen a setup. But thats the same for any bass, got me hands on a RHCP cover bands classic stingray and it had obviously never seen a string change since being brought and played worse than a dogs dinner inside a packet of crisps. I never understand the deep south sort of religious view that some have of fender, neither do I understand the outright hatred for them held by others. It is the 21st century and there are questionably better products out there. I for one much prefer a more comprehensive bridge assembly etc. I would love to change my fender jazz to sandberg but I've had to go for what was readily available to me.

Genuine fenders are traceable by Fenders database, and it would make since both the bodies and necks would be serialized to identify them as separates or parts. I for one commend it the move.

[quote name='neepheid' timestamp='1371811509' post='2118368'] There's a lot more stuff going on in Rich's life at the moment than meets the eye, stuff he won't freely talk about. [/quote] I know this feeling all to well, if you speak to him give him our regards.

Any order you want, play around see what souds best. Common thing is to put a compressor last, to even dynamics but mine is actually in a desperate loop with an EQ after everything. Putting the eq before the compressor seemed to destroy the lows and even loose all presence. Now it's after the overall sound is more airy and retaining much more low end. Also what ever you stick down doesn't get set in stone so it's very easy to switch stuff around.

If your head is fine as it is, order a new barefaced compact, you'll be plenty loud for most situations and any louder there should be a PA to use.

I see the 5er I think on my phone, but the picture is so small.

The debate on series or parallels as stock. When you are buying used who is to say the wiring wasnt changed during its life? I know I changed mine when I had one and sold it on in parallel. Had a go on a compete respray one, including neck refinish, and contours had been sanded too, a lot lighter and played awesome.

Play with a decent set of headphone and a headphone amp. I actually use a small recording desk that records at silly amount of bytes for better than cd audio. Amazing sound through it, amazingly clean and clear. The sound though headphones is little odd at first. I also EQ and do all my sound through it, the amp and cab are there for on stage monitoring tats it, rest is a dry DI from my board. Never really understand people craving amp tone, but I guess there are lots of pub players that don't have the luxury of a huge PA.