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Great thread and I rarely if ever read every post of any thread. This last audition whilst not hellish was I have to admit bloody nerve wracking . The practise room is a little annex off the BL open plan kitchen. Everything's setup, tiny muffled kit, keys, couple of amps all crammed into this very small space and I'm starting to think...blimey this is cosy. We sit down and are literally rubbing shoulders with each other, not an inch of room between us. BL asks me what I want to do and I say well lets go from the top of No 1 set list. ( their a 60's tribute outfit, and they do three sets of twenty each!) First tune is the Beatles "I'm A Looser" with that fab two part opening harmony. I haven't played for quite a while and was almost knocked off my stool by the power and tightness of that opening vocal.....christ these guys are good I think. Then the BL wife who's on keys starts warbling and the whole thing goes stratospheric. Not bad for a bunch of 70 yr olds. I'm 58.... To be sat in the middle of a four part harmony reaching for the sky in a room you couldn't swing a mouse in left me feeling emotionally drained....quite an experience. I've subsequently learned they've been doing this for 40 yrs and the front guy had a No1 record in South Africa.....no reason to doubt it really. Our first gig is this weekend ( a mini festival apparently)...can't wait if a little apprehensive. They give the bass loads of frequency space, its all very jangly and trebly as would be expected, so no room at all for any mistakes.....yikes!

Hey all, I wanted to share my experience I had with my CTM 100, just in case anyone out there had been pondering this. A few months ago I bought a second hand CTM 100. Went and tested it at the guys house, thought it was lovely, and ended up buying it. Turns out I was a bit dumb, and I didn't really test it as properly as I should have, because when I got it home and played with it a bit more, I found that the EQ controls were not as useful as I'd originally thought. Mainly that the bass control did practically nothing. The sweep on the knob seemed to show it coming on, but nothing beyond that. It was almost like it could be an on/off switch. I couldn't dial out any bass in my tone on my next gig, so I sounded way too subby, and there wasn't a whole lot I felt I could do about dialling in a useful sound. At least not very easily. So I took it to a local amp tech, who agreed the EQ was pretty limited. He called Ashdown and asked them if there was a fault with the amp. They replied saying that's just how they are. I thought if that's the case, then this amp clearly isn't for me, so I did put it for sale on Basschat for a short time. But when I was failing to sell it on, I still couldn't really understand why the amp was like this. So I decided to contact Ashdown myself, with a little video showing me using the EQ of my amp, making sure that this was how they're meant to be. I got an email back from Dave Green at Ashdown, saying yes that is how they are, and that the bass control only has a boost of 3db, next to nothing. But he also said that there is an alternative solution that he thought I might prefer. Dave send me over (free of charge) a new set of replacement EQ pots to put in the amp. The new values of which were - (Bass - A220K) (Mids - A22K) (Treble - A220K). A change from what was in mine originally - (Bass - B470K) (Mids - B100K) (Treble - A1M) The point of this probably unnecessarily long post, is that I now love my CTM! I had these new pots fitted, and for me now it's infinitely more useful and versatile. Sounds great with everything set at noon, but for those awkward awful sounding rooms we end up gigging in from time to time, I now have confidence that I can easily make the EQ adjustments to compensate. Even the Mids and Treble control have a wider sweep now so have become much more useful too. The EQ to me has become like a normal usable EQ on any other amp I've used. Do no other CTM users have an issue with the EQ on theirs? Because I was baffled that I couldn't find anyone with the same issue when I researched it. I'm also a bit confused as to why Ashdown don't make them like this as standard, but I'm no amp expert. All I know is my Ashdown suits me a lot better now, and I now rumble trousers with big fat valve tone for days. Thanks Dave Green!

Use it. That's what it was designed/built for. It's not an ornament.

What is this "upper register" of which you speak?

Nope. Everything I buy is to be gigged, as often as possible.

Just to confirm, user banned. It’s a Nigerian user who has done this a few times before so I’m talking to @charic about banning Nigerian IP. Thanks!

Hi All, Arrived yesterday a new ACG TKO from Alan. It is one of two he has made and it is absolutely stunning, the photo's only get you 90% there. The texture within the wood itself really adds something. It comprises: Black Limba body and top. 3 piece Maple with carbon Rosewood neck, 30.5" scale. Hipshot Type B in chrome.Hipshot string tree, Gotoh GB7 tuners, Dunlop straplocks, Newtone strings. ACG PB pickup with Alnico magnets. Weighs around 7.5lbs (not put it on the scales yet). It has what I would call a true PB sound but with more tonal variation available. Can't wait to try it out at band practice on Tuesday.

Dropped the Mrs at the gym and thought I'd pop into the LGS which is only a couple of minutes round the corner. Just browsing - mostly at guitars when I came across the Mockingbird MK3 below. It looked stunning so I tried it and loved it. It's a bit neck divey as you would imagine , but sustains forever and has an awesome array of tones. I wouldn't have ever imagined buying a BC Rich but it wasn't what I expected at all. The shop had set it up perfectly too. I now feel compelled to put gold strings on it (it's an obsession) It was marked up at £500 so a quick google found it for £386 in Thomann and the LGS (Sound Affects) matched the price. A good days work !

My Vigiers... all Series III, build 1994-2004, neck-thru, all original, 3 Passion, 1 Arpège... I REALLY love to play these basses...

And I'd say it's not about me at all. There might be a few personal references I use for examples or to justify a position. But the thread is clearly not about me. The CD promotion was off topic, a mere side note. Blue

Hardly, Christine. If you can knock up basses like you're doing, i'd say you have a bit of mileage left.

Also forgot to mention the Fender Precision Special - MIM, PJ pickups and narrow jazz width neck. Current/ recent models are active but the first ones if you can find one were passive. Again, s/h your best bet, around the £400 mark.

Maybe one day Blue will leave his current band and we won't see these threads every 2 months and he'll be a regular poster in Jack's "auditions in hell" thread instead.

http://glguitars.com/product/sb-2-2/ Very under rated basses.

First thing that comes to mind is a Marcus Miller P7. P body, jazz neck, PJ pickups, plus active preamp. Easily found for under £500 new. Not sure about weight as I've not owned one, but should be fairly light (especially the alder models). Not sure about Squires/Fenders specifically, I'm sure others will though

The current “main” Bass > Temple Audio pedalboard side input > Keeley Compressor Pro > Helix Hx > side output > Mesa amps The Hx also acts as the control centre for the other pedsls, loop 1 “Synths” has the Future Impact and COG T65 in the chain and loop 2 “Dirt and Grit” has the Bearfoot BBO and the Darkglass Duality. I find the B7K emulation to be very close to the original so I no longer have one on the board.

Sadowsky + Aguilar DB751/SL410 Best I ever had.

My mate had a band which has now disbanded I think which had a great name for a bunch of codgers getting together to play: 'Old Country Union' That name always tickled me.

Thanks I will give them a listen If you are not familiar with Peter hook the below... Monaco -what do you want from me Joy division - Love will tear us apart New order - Sunrise

Google too much hassle?

bartelby - I ended up emailing the vendor of the Gotohs I'm interested in he said that 3L+2R was correct - so the eBay one looks like it's wrong. T-Bay - think I'll probably go for the Gotohs, the ones currently on the Hudson are... OK, not great on tuning stability for an otherwise very nice bass, and considering the price I got for, putting £50 into it for tuners isn't so bad. I put Gotohs on a Bass Collection SB100 a while back and was very pleased with the result... so probably worth the investment.

How's the DI out in your amp? Does it have the switch for mic/line? If you could send it in "line" and in "pre" then you could cut all the lows you want in the EQ without affecting the signal to the sub. There are a few amps in wich the "send" output is post-EQ so you would be cutting lows before sending to the sub. This is how i would be doing if i wanted a similar result from my Genz Benz head. I don't know your amp so you should check these things first.

Thats my attitude also, but to be fair I'd think twice taking an origional 65 jazz or something similar down to the dog n duck. If I was a full time pro touring session player in theatres etc then I would!

Blue, We get it. You play in a bar band and make a bit of money at it. We're very happy for you. We all play music for a variety of reasons - financial, for personal satisfaction, to get away from the family for a few hours, etc, etc. They're all equally valid and even "flakes" are perfectly entitled to play music if they want.

Ooh look darling, how about a side table for drinks? No, she said.

I once took my 3 Gus G3 Basses and and Gus G1 Guitar to a gig. Total value along with the bass rig I was using at the time, somewhere around £25k...

That's one heck of a list for a pub band, in my opinion. If looking for a full-time job, or career, maybe I'd agree with a lot of the points, but for 'week-end warrior' bands, for folks with a 'real' job for the mortgage, I'd suggest it's royal overkill. Is it fun..? Do you get on with the band members..? Is the gigging frequency compatible with other stuff going on..? That's about it, I'd say, for a great many of us. For a more serious gigging musician, I'd say that depping brings about the best opportunities, with the bonus of knowing exactly what the band does from having played with 'em on gigs, if a permanent offer comes up, as well as the contacts it offers. No real need to go about it like an accountant, I say. Just my tuppence-worth.

Band Name Woes isn`t a bad idea................

I've just completed another bass part ex / sale with Martin from Wales - we had lots of communication both ways throughout the process and have been exchanging a few texts since about the basses we swapped. And it got me thinking as I was writing his feedback and looking at the three pages of feedback I've got....basically (bar one specific example - exception that proves the rule?!) I've had nothing but overwhelmingly positive experiences ( a LOT of them!) with people I've never met. Often involving quite a lot of money / expensive instruments and therefore trust of this unknown person. It's a great community of people who really do give bass players an excellent name. I'm sure other forums for different instruments may be the same (I'm not on any so can't really comment) but this really is a lovely group of people on here and I"m chuffed to call myself a bass player knowing that there's a lot of lovely people out there who also call themselves bassplayers! All good!

Probably a warehouse picker thought they just had a new colour pack. it works the other way too - I ordered one cymbal stand online, but what arrived was one... box of six cymbal stands!

Ah, the joys of the year 6 residential, I feel your pain. I’m off on my annual ‘cat herding’ a fortnight Monday. 😬

Lefty Harley Benton Fiesta Red PB-50, ordered one eight months ago right after it was announced, today it finally arrived!

Chvrches are one of my favourite bands at the moment. No idea where they fit genre wise, but their stuff is very synthy.

Nope, but George Lucas wants to have a chat with you about your avatar and royalties or summat *shrugs*

Cheers guys....and I know what u mean re politics, plus the simple fact that they really know their stuff. Guess it's always a bit awkward when u join a bunch who are basically lifetime mates.....just gotta play all the right notes in all the right places, then rinse and repeat!.......we'll see.

It's a Providence Dual Bass Station two channel preamp. I was using it to switch between the fretless and my upright

£490 thank you everyone for your generocity

This isn't going to end well ...

Me! The guitarist from one of my bands recently decided to leave and we decided not to replace him, so I've been using a Bass VI. I share the bottom end duties with the synth player, so when I'm playing in the upper register he's holding down the bass, and when I'm doing a more conventional bass line he's playing the melody. Works very well, and it gives plenty of sonic space for our fantastic singer.

Victoria Smith? One of my role-model bass players. Watch her with Will Wilde's band and with Dani Wilde - she looks and sounds completely different but equally excellent. Will def see the Ramonas if they're near me, even though I'm not into the Ramones, just for her. I saw Will Wilde at the Colne Blues Festival last year with a dep bass player and it was a revelation. He was playing the same notes at the same times and it just didn't work. Victoria's bassline on "Angel Came Down" soars, flies, really gets the meaning of the lyrics. The dep didn't. (Ot, sorry 😞 )

The glitter band had quite a few hits after they weren't with Gary Glitter, such as Angel face and Goodbye my love etc. Maybe something like that.

That funky orange is fantastic. I have the same in natural flame maple which I love, but your orange one's a doozy! viger_front.tiff

Try contacting Jeff Genzler, maybe through the Genzler site or facebook page. Don't know if he will be willing to assist you but you could be lucky. www.genzleramplification.com www.facebook.com/genzleramplification/

I stopped using commercial cabs years ago. I'm currently using the self-built cab I have been describing in the Cab Diary Revisited thread. It's gone through a few iterations but the design concept is basically what I outlined in my post above. The bass driver I'm using now is the new neo Faital Pro 12PR320 together with a Celestion compression driver and constant directivity horn. I've nearly finished this particular version, which has been designed specifically to be lightweight, and will be continuing the thread as soon as it's ready so that anyone who wants to can build one. Straying a bit off topic......

It took an old PC game from 1997 to hit the highest of high funktastic This is what Funk looks and feels like....

Lest go off the wall............frlarf Solarium Scrotum The Jelly Deal The Slavepasties Butternuts The Taxevaders GoveSexParty Irritable Band Syndrome Sell By Date Blown by May