Prime_BASS

Tonight is the night of our biggest show yet, and probably last one for a while. Nottingham's Rock City tonight at 6pm for £6 you'll see us, Cut the Heroics, and a plethora of other pop-punk bands from around nottingham. Be good to see some BC'ers there tonight. Stephen

That makes a whole lot of sense, I understand the difference between the two now.

Cheers boys, lots to look at. Thanks again.

My band is set for another reshuffle, and I'm doing my best to keep the noise down and have it a 3 piece. I've written a few pieces now that would sound good with in a three piece. Aiming for a indie with a groove sort of thing. Anyway I need to build up a palette of great artists that have written similar sort of tunes, there are one or two locals I've drawn influence from but aside from that I'm coming up short. I am after writing pieces that that singer can sing aswell as play, with very little 'fancy' work as when we play live I want it to be as true as possible to any recording we'll do. Can anyone help with examples of great 3 piece acts with great basslines/bassists??? Stephen

9 times out of 10 I am taking mine for everyone else to use, as I know I'll be using something of decent quality then and I'll at least be able to hear myself over drums and ridiculous blackstar stacks some idiots bring. I'm normally quiet happy about it but still protective, 99% of the people I play with are gents and are always thankful and some even ask even though I organised with the promoter that I would provide it for everyone to use, which is always nice. Yet I am protective because it amazes me that any 'gigging' musician will go out into their desired field with out even a modicum of knowledge about how to use an amp. I know they probably only have a small cheap combo, but because they use their Laney RatBag amp with all the knobs twisted to 11 because they are fighting an ever losing battle with their friend's mum's 4x12 3trillion watt Bugera stack, they assume they can do it to others. I would be embarrassed if I turned up to a gig and greeted the fellow bassist whose amp I am free to use , then turned to said amp and looked blindly holding my jack lead as I wonder where the hell to stick it. There is only one hole in the front, it isn't that confusing. Luckily the amp I have now has the world's brightest LED's so I can always see the clip light coming on from across the room. And please stop asking me to is you can borrow my stramp/spare strings/leads as DM said, 'I've only just met you' and if you can't afford a £5 strap/lead/string then what are you doing with your life? It still bugs me, even grown men can't seem to fathom any amp I have had.

[quote name='lobematt' timestamp='1361029753' post='1980039'] I'm a bit worried about going for a 115, don't want it to sound to muddy! [/quote] [url="http://barefacedbass.com/product-range/compact.htm"]http://barefacedbass.com/product-range/compact.htm[/url] have a read bro, you'll be enlightened. I haven't come a across a correctly tuned 1x15 cab that has sounded wooly or muddy.

[quote name='Badass' timestamp='1360926169' post='1978363'] Surely this will mean the nut will not be cut correctly. If it was originally cut for .45 .65 .85 .105s will the A and D strings not rattle? Maybe I'm wrong. Curious.... [/quote] As others have said there is no problem, I normally used a standard .45 .65 .80 and .100 set and they've gone in fine, I'd assume they rattle if you have a weird tuning etc, the tension has actually gone up from about 36lbs to 42lbs, on the ones I changed. So now the strings have a stronger pull on them so even if the nut was cut for really wide strings the force exerted on them would hold them in place and stop 'rattle' or them moving you dig? [quote name='chrismuzz' timestamp='1360926302' post='1978366'] I've not used these, but I had a balanced tension set made by Newtone for my 6 string. I found that the higher strings didn't feel as tight as I would have liked. Some people love them but my preference lies in having slightly more tension up there, [/quote] That doesn't make a whole lot of sense, the idea of balanced tension is so each string has equal tension (compliance or whatever) so they each feel the same. I realise it's down to personal preference at the end of the day, but if you feel the top strings were too flabby you should look at maybe going up a few gauges?? I've had this set - D'addario nickel wounds(#I wanted prosteels and made a accident when ordering) with gauges .045 .060 .080 .105 - on for a day or two now, so feel I should epress my feelings about them. I always liked D'addario's due them not costing the earth and being one of few strings that I like the played in sound of and don't have to clean them so much. They also seem to sound newer for longer, in comparison I had a set of black beauties that sounded pretty dead after a week, which included a gig and a rehearsal, and then mild playing at home, and usually strings sound pretty played in after a rehearsal since it gets sweaty as hell and my hands are always mucking up everything, grease sweat blood you name it it's on my hands. Anyway. What's on now have been on only a day or two but have already had a good amount of play at home aswell as an intense rehearsal (did our set 3 times for an upcoming gig) and playing them today they still sound fresh as daisies, so I'm happy about that. The meat of thread however is in balanced tension. In regards to setting up, it is actually a whole lot easier, since each string is pulling the same weight it's easier to balance the action, less tension will mean they rattle easier compared to strings with higher tension. This is probably why I was always finding my low E far to rattly compared to my top G even though they were the same distance from the fret board. It still has a pretty standard setup on the bass though, the higher side is closer than the lower side of things. However I've been able to lower the action a fair bit compared to what it used to be, which is always helpful. There shouldn't be any confusion about volume drops or anything drastic. As I understand, a balanced tension set would have more equal volume, since each string is pulling at the same weight they'll vibrate within the same sort of attack and decay, more flab would mean it'll vibrate far wider and more causing, lets say in my case the low E to be overly loud. TBh I never really had a trouble with volumes of strings as I've used a well setup instrument and a decent compressor for ages. Chordal work sounds a lot better and my D string would always over power everything else but now the notes ring at the same volumes(attack and decay wise I think) Sound wise, there is a definite small difference in a mix, especially on the low side of things. Each string punches with a what feels like the same weight to my ears and notes across the range or more defined which always helps in a loud/noisy band also found I wasn't using as much volume but they may have been due to the nickel strings or the new setup. I always dug the way a .080 gauge A string sounded, songs like people of the sun make me tingle on that string, but always felt lack luster with the others, now as cliché and hype it sound each string do have a more similar overall sound/tone. I'm more impressed with the low side as my E always felt lack luster and I always ended up trying not to play it, now it sound a whole deal better and in the band setting comes to live a bit more. Playability, it was strange at first the whole set does a feel a little stiff compared to before, but I persevered and now I barely feel it. Overall I'm pretty happy with how the set sounds. I'm still a bit apprehensive about going for a full balanced set as a .107 I'll still feel a bit heavy, I think a .105 is enough to bring it up with he rest and not feel a chore to play. But if a set is going to be less than £20 then I'll live with it. I've also lost the cool colour coded ball ends as the single come with brass ones. I would urge anyway to give it a try before they dismiss it. Just they to yourself which string do I like the sound of the most then match the others to that. You should only have to buy two single strings. Overall I spent about £25, but that's still a bargain compared to some other brands out there.

[quote name='John Cellario' timestamp='1360927377' post='1978386'] Thanks TRBboy I'll give Alan a ring...maybe I'll go for the Musicman style pick-up at the bridge as it does bug me that the J Bass bridge PU's do sound a little thin sometimes. Thanks again. Regards John [/quote] The sandberg's standard single coil, with the single pole pieces are superb though, no where near as thin as what you'd get from anything from fender, and the overall tone is similar to the single coils in musicman basses too.

[quote name='dood' timestamp='1360176428' post='1966218'] I'll hopefully have some news soon, apologies it has been crazy busy these last cuppla weeks. I'm definitely trying them out on my own basses anyway, so absolute least I'll be able to review for you. [/quote] [quote name='ead' timestamp='1360443662' post='1970656'] Looking forward to that review dood. [/quote] I was too eager to try a balanced set so I have ordered single of .105 .080 .060 and .045. they have the tensions rated at around 42 lbs. They've arrived today so will be giving them a try tonight at rehearsals.

Looks good and I'm sure it'll look better with some cloth over it. My birthday is coming up so I might investigate a flightcase, if they arn't too heavy and cumbersome. If not this fold up thing looks promising, if a little short for a 4x10

The first sound guy seemed to have no clue as I made it obviousi asked about the DI and his answer was rather ambiguious. The secondguy is usually ok with me, and I feel it was justthe bassist pies poor setup and heavily detuned bass. I willtry and check the output from the di over the weekendat rehearsals and at hdome to see if something is wrong. Whatis the difference between ground and lift? I nevernitice amy difference om other stuff I've had befor betwEen the two. I always thought it best to have a hot signal anyway? Lots of stuff to consider anyway guys thanks.

Thought I posted in here. Brought TRBboy's old natural 'Berg basic and I'm still in love with it, always been a little unsatisfied with a little low mid hump that has been more prominent in the studio so investigated to find that it's wired in series, so will be looking into how it sounds in single coil and parallel. Although it's not been a deal breaker as I've played it exclusive since having it off him, with only wanting to give it up for a dream bass. Played it so much it's got a wear mark from my grubby thumb near the pickup lol! [attachment=127653:Gedling-20120526-00267.jpg] and a vid from a gig. [url="http://youtu.be/bVssp9UXZ9w"]http://youtu.be/bVssp9UXZ9w[/url]

A local shop used to stock some JMs and PMs (whatever they are called now, TM and PM?) and they all sounded pretty nice, very fat compared to single coils but I prefer the sound from singles anyway. And I own a basic which has a single humbucker in the middle. I find it easy to get Jazz type and P type sounds out of it you just have to change where you pluck. Sounds like everything if you want it too.

I tend to spot gear at gigs, but don't huddle around people. Most interesting thing I saw at a gig was a modulus Funk Unlimited in blue sparkle, the guy was kind enough to let me have a go on it too. Since then I've had gas for that. Usually a lot of other bassists ask me what my bass is, after seeing it and look confused with my answer too. I usually role my eyes at bassists who bring two of the same instrument with one being a 5'er the other a 4'er, because the 5 can't do what the four can.............. Guitarists too who bring more than one guitar, it's ok if one is acoustic or something and it's been sound checked and doesn't feedback at every chance. Also role my eyes at people bringing 4x12 stacks to the local dive for the worlds smallest stage, and the bassist still roles up with his/her combo.

Used this head now for 2 gigs and while I love the sound I feel there is something wrong with the DI out. First gig the sound engineer tried turning all the knobs to the bass down (what I assumed through the DI) I later asked him about it and he said my bass just seemed loud :/, nothing about a hot DI. The last time the first and soundchecked with it and as far as I could tell it wasn't overloading the preamp and there was barely any real volumes coming from the rig but the sound guy quickly changed it for a passive DI box too loop through. I'm annoyed as I want that tube preamp warmth to be part of the sound (I like the dry sound anyway of going straight to desk) Anyone else had any troubles, or can suggest something (there doesn't seem to be a line out volume control like on my old markbass) Stephen

[quote name='51m0n' timestamp='1360765383' post='1976103'] Cool! I'd been trying to figure out a solution to the problem for ever - how you search for a fold down table capable of supporting a 100Kg plus wide enough for a single cab bass rig just kep eluding me Then I saw these whilst lookig for ladders for doing the hall (the bendy ones that will cope with stairs) - just seems like the ultimate secure solution for a bass rig.... Of course now everyone will get one and I can just borrow theirs at the gig [/quote] Going to look into this man, looks good. Mainly the boom is at home during practice, at gigs I struggle to hear it due to it being so low(which is why I used to use 2 vertical 2 by 10s.) I also find when it's raised as high as an 8x10 I have to EQ a whole lot less making soundcheck a thousand times easier. even at rehearsals I raised the ampeg 806he to be at a good 1 and half foot taller. Before I struggled to hear it anywhere in the room and had to pretty much EQ the bass to 9/10 o clock to stop it rattling the whole room (piss poor room granted) now I just eq the mids to cut through all the noise a bit and I can hear it fine, even came though perfect on a recording of the night with a single over hang mic. This isn't an argument as to the advantages or disadvantages or if something is wrong with me or my stuff. To me it's better raised, so I'm doing it.

[quote name='Ant' timestamp='1360671606' post='1974220'] pq-3b is amazing! [/quote] Yes want one, missed out on the last on ebay.

[quote name='JTUK' timestamp='1360495944' post='1971133'] Depends how much your technique is dependent on sound .. [/quote] Do you not mean sound dependant on technique? [quote name='deepbass5' timestamp='1360501860' post='1971260'] This is all about playing too loud in a practice room. You need to train your ear to identify frequencies. ring the room out just like setting up a PA, bring up the volume until the first peak frequency booms or howls, notch that frequency down 3< 6 dB then start over, You do not need expensive things to put your cab on just learn how to set up to minimise problems. Q which is the width of frequency band affected. A notch filter is ideal [/quote] That all sounds like too much hassle than it's worth. I'd like to have the cab raised all the time as a lot of gigs we do I'm stood right next to the amp and no amount of wedges or EQ helps my ears hear it, my ankles can fine, turning the lows or low mids down just stops my trousers flapping. I know what Q is thanks, not too many pedal based eq's that give all the features and come cheap too.

I have one bass.

[quote name='Ben Jamin' timestamp='1360328277' post='1968666'] The Sandberg Basic is a pretty cool Stingray-esque bass too. [/quote] This really stingray-ish but cleaner, and from my experience most are better built too. I'm not overly keen on the standard preamp but I rarely mess around with it and it does the job. The Stingray definitely has more character overall. But if you want a ray just get a ray again.

Series is +3db louder in the low mids than parallel , as far as I'm aware that is the only real difference. Anyone know how the pickup in the sandberg basic is wired???

[quote name='Bill Fitzmaurice' timestamp='1360169567' post='1966069'] Where controlling boom is concerned that's the point. The only issue is getting the height correct to reduce the correct frequency, or not raising at all when not required, but still tilting it back so that the highs are aimed at your ears. [/quote] This is what I'm after really. Having it in the air all the time in my mind will give me a more consistent sound from room to room, stage to stage. no? give or take wall/ceiling reflection?

I loved my LMT while I had it, although the way I used it, the shuttle 6.0 I have now is sounding exactly the same. Just a little lacking on volume IMO compared the the LMT.

Anymore on these strings as I'm after some new strings since the played in sound of the DR's I have on is naff. Dood??