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Showing content with the highest reputation on 18/04/18 in all areas

  1. So you can do it quickly silently at a gig. There's nothing more irritating or amateur than the tuning song.
    5 points
  2. I always liked the sound of my bass through a PA anyway, in fact bass straight into the desk is probably my favourite bass tone! Pros and cons of swapping an amp out for an FRFR (for me anyway) are as follows: Pros - Can carry the entire thing with one hand. - Loads of better placement options on stage especially if you're tall, points at your head and can be put anywhere down to small size. - Sounds similar to what the audience hear, a clear representation of my bass. - Works very well with existing DI/EQ pedals and pedalboards. - Was £100 better off after selling my bass amp. - Takes up much less space in the house. - Set up in a couple of minutes. Cons - Doesn't look as nice as my old Markbass rig. I can't emphasize the placement part enough, I've always struggled with hearing myself due to being tall which was corrected when I got the MarkBass Club cabs as they tilt back. However that posed a new problem as I either had to find space where I could have 3ft of bass cabs on the floor or have one on top of the other in a wedge position. The small size of the QSC completely eliminates this, it fits in between the legs of our lights stand so even on a tiny stage there is always room for it, I can have it at the front of stage pointing back and it doesn't look out of place too. Worth noting that my amp is purely for stage monitoring, we have a decent RCF PA which does all the donkey work and I was using compact DI/EQ boxes like the Fishman and MXR M80 to DI directly without any amp sims. Swapping my amp out for an FRFR was the logical step for me, should have done it years ago.
    3 points
  3. Gorgeous looking bass, haven't tried one for sound though. Here's mine ;-)
    3 points
  4. Bristol, 2011 The last audition I had was for a band that the drummer who was in my jazz band had joined about six months previously. The band had regular gigs but didn't have a bass player up to that point as there 'wasn't enough money to pay a fourth person'. Anyway, they wanted a double bass player and the drummer wanted me in the band so he booked a local rehearsal space and the singer/guitarist drove the 60 miles from his home to Bristol for the occasion (which he moaned about all the way through the audition). I'd learnt the songs from the album the band had just recorded - it was pretty easy as there was no bass on the album, so I could just do what I wanted and it was all Johnny Cash style G/C/D stuff. Easy peasy. The singer/frontman bailed out of the session half an hour before it was due to start as he'd forgotten he was supposed to be playing football. No problem says drummer, the guitarist can sing the other guys parts. The audition got underway and everything seemed good to me. The drummer was mostly playing along with the guitar as that's the sound they had evolved without a bass player, but the drummer and I had been playing jazz together for the past three years so I wasn't bothered about having to play along to a non-standard drum part. The guitarist wasn't happy though..... when the drummer asked him how he felt it was going, all he could say was 'I dunno - it's not what I was expecting'. Further questioning from the drummer revealed that he actually didn't know what to expect as he'd only ever done solo stuff and had never played in an actual band before this one and had never played with a bass player before. No problem says the drummer, we'll have a proper rehearsal next week, before the next gig with singer/frontman and we'll see how much better it is. Fast forward to next weeks rehearsal, the frontman/singer bails again because he has a hangover... so we go ahead anyway and rehearse the set. Drummer is happy, I'm reasonably happy but guitarist still doesn't know if I sound like he thinks he wants it to sound, even though he can't explain to me what that sound is. He's also demonstrating an alarming tendency to be unable to remember which key the songs should be in. Drummer reckons we're all sorted for the gig next week. I'm less convinced. Alarm bells should be ringing - I've not yet met this flaky singer/frontman who I'll meet for the first time at the gig next week and the guitarist is still being very non-committal about whether I'm in the band or not. it's only my faith in the drummer and his insistence that 'everything will be cool' that I'm not walking away - but it's not looking good from my perspective The gig comes round and I meet the singer/frontman for the first time. He's actually a pretty cool bloke and apologises for not being at the audition/rehearsal, but admits that as he's never been in a band with a bass player before, he would have no idea if I was any good or not and therefore would have no meaningful input to make. Fair enough really. The gig goes pretty well, the band's fans say they love the addition of bass, so I'm in if I want it..... 7 years later I'm still in this band. we do 60+ gigs a year and have released four albums. Not all auditions from hell end up staying in hell. The original guitarist is gone though - he whinged one too many times about having to drive to Bristol for 2 gigs and two rehearsals a year.
    3 points
  5. 1982 Squier JV Precision, 3 Tone Sunburst, Maple Neck,Rosewood Board, all original except for the Di Marzio pick ups but I do have a set of original pickups from another J V too. Excellent condition for a 36 year old bass, plays great, sounds awesome, low action, a fine example of these basses. Not Looking For Trades, Sale Only 👍🏼
    2 points
  6. PRICE NOW £550 plus p&p 70s style Fender Precision CIJ with US pickups. Built in 1993/4 Unique feature is that it has reversed pickups fitted from factory (i.e. It's totally clean under the pick guard). Very good condition , a couple of small marks on the end of the headstock. Lovely solid , well built and finished 70s style P bass. Collection preferred (location KT10) but can arrange to ship in an old hard case for protection (which has broken catches) at buyers expense , this bass however really needs to be seen to be appreciated, it will not disappoint. Pictures done by me on my phone and don't really do it justice (for example the darker patches must be a trick of the light) Will be sold with a set of used but fairly new roundwound strings on
    2 points
  7. Neck is quite an attractive maple/maple - Vol + Vol + Tone - current knobs are chrome. 9lbs. 34" scale; 1.5" nut; 9/19mm spacing/s (nut/bridge). The body had some holes which required filling/colouring. The main issue was the over-large neck pocket (so there is a gap to either side of the neck - but not obvious from a distance). the s/plate is new and matches better than in the photos. new 40-100 - Nickels. Decent chrome bridge. Decided to use some black tuners as the maple neck/headstock is so light. Good quality pickups. Action OK but not easy to set ultra-low, 'F' logo added. Price does not include a case/bag OR Courier; but might be able to find something and offer delivery (at cost) for full or 'split' bass :-
    2 points
  8. I think a lot of people are thinking these FRFR cabs are just like the crappy old tops they've got lying around.
    2 points
  9. Here's Rhino Edwards using his set along side Jim Kirkpatrick's at the Shepherds Bush Empire in January: Rhino's Revenge. They were guests of King King. Plenty of photos of Alan Nimmo using his Smooth Hound wireless here. There's many more professionals using the set all over the world on big stages and small.
    2 points
  10. The sound through the on stage monitor may not be identical to the sound out front but provided it’s of comparable quality to the rest of your PA it’ll get you much closer than the typical coloured bass cab will. As with most things you tend to get what you pay for, so there’s no use expecting a dirt cheap monitor to match up sound-wise to a multi-thousand pound PA projecting out front, or vice versa. And of course, even if your on stage monitor is the same make and model as your PA tops, the characteristics of the room will affect the sound out front to some degree. If you’re playing at a smaller venue then the tone coming out of your monitor (now serving as backline) is what the audience is also hearing. Simples Granted, using “house” stage monitors and PA might throw a spanner in the works as you’re at the mercy of whatever they give you. For me I guess it’s just about eliminating variables. I’ve always preferred to have all my tone shaping from my basses and pedals. In that sense, me and the rest of the converts in this thread are certainly in the minority of bassists as a whole. However, I will say that since more and more pro bassists and pro guitarists (the kind who play truly massive venues and do national/international tours) are running amp modellers into FRFR monitors or in ears that there’s probably some method to our madness. Consistency of sound from venue to venue, ease of setup/tear down, cleaning up of the stage space and making the sound guy/gal’s job easier out front. Very few of us in this thread are at that level of gigging but clearly we still feel the advantages even though we’re only playing in our bedrooms or down at the Dog & Duck. Also, bear in mind that everyone here who is now happily living the FRFR life has had experience owning and playing through traditional amps and cabs, and having compared the two experiences are finding the monitor route to be better for them. I’d say that it’s easy to be a skeptic from afar with no meaningful experience of the very thing being criticised. You just have to try both to be able to form a balanced argument on the matter. @stingrayPete1977‘s comments above are totally accurate. These RCFs will stand toe to toe with bass rigs of the same driver size and win every time for both volume and heft. I’d challenge you, @Al Krow, to see about trialling one as a replacement for your backline. Use it for a couple of rehearsals and a couple of gigs (giving you a little time to dial in the kind of sound you like) and then come back here and share how you feel. You may still prefer the look of a “proper bass amp” sitting behind you but I can bet money that you’ll have changed your tune with regards to their performance. p.s. Oh, and since you have a Zoom MS-60b and B3n you can even emulate your current Markbass sound and get rid of some of the subjectivity of the tone argument! It’ll be a test purely of volume, heft and dispersion. p.p.s. And convenience, of course.
    2 points
  11. If I was playing in a band like that I'd have light-weight fold-flat Ampeg SVT and Fridge façade to go in front of my FRFR.
    2 points
  12. I spent 28yrs of a 30yr playing career with no pedals. Recently I have been using them. They are fun to have but not essential. They do sound good though. The best improvement to your sound is practice though.
    2 points
  13. Voice coil size is just one way of seeing through the exaggerated claims made by manufacturers of audio gear. As the technology currently stands, a 2" coil should handle up to 200W, a 2.5" coil up to 300W and a 3" coil between 350 and 500W. There are other factors involved apart from voice coil diameter, but I wouldn't be confident using anything smaller than 2.5" (unless it's in multiples) for bass backline. Your TKS 112 has a 2.5" coil, by the way, Funkshui. (I'm talking bass drivers here, not compression drivers)
    2 points
  14. Small one for my usual shop but can downsize to a basket if I'm just nipping in for a few minutes.
    2 points
  15. And then worked with George Martin who DID study music. The 'music theory stunts your creativity ' argument is a justification. Any knowledge empowers you. A lack of knowledge will not improve creativity, it will be irrelevant to it.
    2 points
  16. Wow! Not many folk can say that about their bass - what a lovely part of its story.
    2 points
  17. Finished!! Well not quite, I haven’t installed the electrics or wired it up yet, but everything is together now and it’s looking awesome! I’ll replace the temporary strap buttons with Schaller strap locks, put on the string retainer and the tug bar once it’s strung. It’s the lightest Precision bass (or any bass for that matter) I’ve ever played. At just 6.5 lb it’s 3 whole lb lighter than my Fender Jazz, my shoulder says ‘yay!’ Looking forward to getting some flatwounds on it and seeing how it sounds!! Very pleased 🍊
    2 points
  18. I am truly gutted that I had nothing to offer this thread. Not had any experience even close to any of these so just a big thank you to all the contributors. This is pure gold .................
    2 points
  19. 1 point
  20. Does a bass cab really go lower than a good quality FRFR? It might look like it on paper, but you have to remember that most of what we perceive below 40Hz is implied by the harmonics being generated and not by the fundamental itself because most cabs simply aren't cable of reproducing these frequencies at any great volume. My Line6 Helix into a single RCF745 has replaced the huge Tech Soundsystems and EBS rig that I was previously using. With the RCF745 set up as a wedge the opportunities for positioning and dispersion on stage are superior to what I was getting previously which means lower on-stage volumes; and the new set up occupies about a quarter of the van space.
    1 point
  21. Hooray! New strings have completely solved the problem. The Warwick Black labels arrived so I fitted those. Not only can I get the E-string action down with the others, I have been able to lower the action on all the strings by quite bit as well. Not sure if it is just a one off rogue E-string, or if this is a systematic problem with the 'Red labels'. Tension in the black labels seems slightly higher than in the Reds. They seem slightly brighter than the Reds, which may well be because they're new, but fundamentally sound much the same. Physically the Black label B and E strings have a significantly finer outer winding than the Reds. The only thing I'm not yet convinced by is that the Blacks have a taper wound B string. It seems to sound a bit 'hollow' compared to the original (non tapered) Reds. BUt whether that is the taper or something else I really don't know. Newtones are on the way and I'll report on those when they're fitted. Thanks for all your suggestions on this.
    1 point
  22. End grain will always stain darker than straight grain. It will even do that if you are simply clear varnishing plain wood due to the finish soaking in more into the grain pores where they are exposed. It's one of the reasons that the effect of flame maple is enhanced when you add the finish. I think you'll find that the effect looks pretty natural, though. I think I mentioned earlier that there's a stage in finishing where it really doesn't look great - hence the old advice of 'don't panic...it will be fine'
    1 point
  23. After defections Chad has now changed the group rules so people can recommend products that he doesn't make. Would not surprise me if the real L6 guys had a word behind the scenes. Can't be good for a brand.
    1 point
  24. I'm pretty excited as Nick very Kindly shared the first pictures with me. I love these and have put my order in already!
    1 point
  25. The temptation to get my Peerless Smoked converted to an 8 or 12 is building.
    1 point
  26. It depends on what you are having to amplify. For example... If I was playing with a reggae tone, the larger voice coil would (all other factors remaining the same) be a better shout. What you have to remember is this, dedicated bass guitar cabs rarely sport the same quality of drivers found in the comparable prices PA cabs - so you are onto a winner on a performance point. Whether you want the flat response of a PA cab vs say the colouring of a bass cab, well, that's a different thing - but that's where your modelling comes in.
    1 point
  27. Neck is Fender J type - fits well; maple/rosewood (looks like an original MiM) Vol + Tone. 9.8lbs. 34" scale; 1.5" nut; 10/18mm spacing/s (nut/bridge). The body is generic. Finished with parts I had lying about - NOTE that 3 tuners are decent/chrome, but as I couldn't find a match (for ages) the 4th (A) is a Gold tuner. OLP neck-plate (chrome). Purple finish is OK and the s/plate is new. There a hole (?) in the bottom/rear of the body. f/board is de-fretted (slots filled; reasonable job). Fairly new 45-105 - Flats. Action OK but hard to get ultra-low, 'F' logo added. Price does not include a case/bag OR Courier; but might be able to find something and offer delivery (at cost) for full or 'split' bass :- (SOLD on ebay)
    1 point
  28. A wolf heavy duty foldable hand truck, currently £70 at B&Q. Decent size with a 100kg capacity and very sturdy. Makes light work of moving my cabs and PA, including sub. Also pretty good when going up and down steps when used with a restraint strap.
    1 point
  29. oh dear - it appears to have rather caused a bit of a stir and i didn't even post anything
    1 point
  30. Have you seen this one? Face it to the back of the headstock and there's not much visible from the front. If your bass has a black headstock then it becomes invisible. Not a very big screen but if you have a decent vision won't be a problem. EDIT: more pics: like i described: or, completely invisible:
    1 point
  31. @Al Krow I currently run a LMII and a single TKS S112 (i do have 2, but have never needed the 2nd). I have the option of running through the PA, but would intend to use it as backline. It seems to me, the people who have been going for the FR/FR route all find their sound to be better? That's why i'm asking though
    1 point
  32. Ive had a look online and also weighed the bass myself. It is approximately 9lbs 13ounces - 10lbs. Thanks
    1 point
  33. I love the idea of a couple of pedals, but in practice I know at a gig they would stress me out and add more complications and more chances for things to go wrong. In all honesty I barely even use my amp settings, it’s mostly flat and my stingray does my small EQ tweaks.
    1 point
  34. I'm still really happy with my FRFR powered speaker (a modest RCF HD 10-A). I sold my Genz Benz head and Barefaced cabs. The only thing I've changed about my setup is an EQ pedal, which I've added post-DI. I use it mainly for its volume control - it makes it slightly easier to adjust my on-stage volume without having to find the powered speaker's gain control (which is located on the back panel).
    1 point
  35. The Retromatic bass also matched my guitarist's Retromatic guitar ...
    1 point
  36. I have not played a Peerless Smoked Bass but a bassist in another band we supported a couple of years ago had one and sounded great causing me to buy a Peerless Retromatic B2 like the stock photo below. It's an excellent bass and I imagine the Smoked is also excellent. Peerless have made hollow body guitars and basses for many years including the Epiphone Jack Casady bass and the Epiphone Casino guitar.
    1 point
  37. Yep all sounds great, but the problem with subs is time alignment with your mains around the crossover point. The whole idea that a sub can go more or less anywhere and sound great is misleading at best, it must also be the same distance from both mains (or they will skew, you will get comb filtering and other weirdness etc etc), and any wall reflections need to be taken into consideration. Eventually you find there may be nowhere where your sub doesn't do something funny to the sound in the area where you mains produce something (not enough) and the sub top end. It can be done, but it is very difficult to do (very very very difficult) even with software, and IME you're better off getting full range speakers to do the job and just take all that guess work out of it
    1 point
  38. Good grief! A happy ending!
    1 point
  39. These stories are brilliant. And you tell them beautifully, Mr Happy. I'd definitely enjoy reading a blog of this stuff. S.P.
    1 point
  40. There's tonnes of flaky musicians, the bar is just set pretty low for vocalists because for most musical contexts you rarely need much beyond half an ear for pitch, an inflated sense of self-worth, and perhaps an SM58 if you don't fancy sharing crusty saliva with every other musician in town. There's a million flaky guitarists with an acoustic sat in their room playing wonderwall, but they aren't getting out gigging any time soon (sadly the increase in open mics has also led to this not being quite as true as it may have been a few years ago...). There's also a massive gaping chasm between kareoke singers and actual vocalists who understand all the other bits of talent and stagecraft that go into being a performing singer. My personal Voight-Kampff test at auditions is asking them to sing harmony behind someone else - I'm by no means a great singer, but I can improvise a basic thirds/fifths harmony on a tune by ear, so they can't do it then they've not spent much time playing with other people, don't have much of a grasp of melody, and you're likely to be in trouble a bit further on down the road.
    1 point
  41. Radial bassbone overdrive. 2 basses and overdrive.
    1 point
  42. But can you adjust the output levels individually?
    1 point
  43. Cheap behringer mixer for 20 quid?
    1 point
  44. It can make a difference health wise though. Having a bad technique can cause wrist strain etc.
    1 point
  45. My immediate thinking is that a good PA speaker and a separate small mixer sitting in a convenient to reach location will be much more practical than an all-in-one speaker with all connections and controls hidden at the rear of the speaker cabinet. What’s your budget?
    1 point
  46. Paul and Fiona have spoken and sung at our church several times. Lovely couple and a great evening of music and testimony. First time they came we backed them for the worship session so they came along to the rehearsal/soundcheck on the Sunday afternoon. That whizzed through no problems so when our regular Worship Leader said, “All done” there was plenty of time left. Paul looked round at the rest of the band, drew a harmonica from his back pocket and said, “Well, anyone fancy a little blues in G then?” Etched in my memory as one of my best ever playing experiences!!!!
    1 point
  47. look, no bass amp - i was feeling sorry for the two guitarists having to lug all their amps, cabs and mega pedalboards etc (but only for a bit)....IEMs and Helix for the win !
    1 point
  48. So here is my 71 Jazz bass refinished in candy Apple red I got from a fellow basschatter a couple of months ago. She had a reissue pickguard on when I got her which I replaced with a genuine 69 tort pickguardwhich I got from Axel in Germany, and the soldering was quite shoddy which I’ve redone, I’ve also shielded all the cavities so she is now as quiet as a mouse. String with Rotosound 77 Jazz flats this is my main gigging bass, she is the “bomb”.
    1 point


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