deepbass5

The problem rests with the fact we do not smoke, eat and drink on stage during the set anymore. A fish and chip supper sat along side ya pint on top of the WEM column speakers would not only lubricate the bassist but the strings and keep the fret-board in tip top shape - lovely jubbly

How about a black bass silhouette in a green heart - that would say BASS - LOVE - ENVY - sorry don't have the time to set that up edit and paste but that may say enough

From reading your post you naturally are returning to playing where you left off, with effects forming that blanket comfort zone that has become your sound. I would say try and find it in pure rock n roll - meaning Bass -guitar and drums + vocal stripped back If you can find an outfit with some vocal harmonies and just keep the music pure then you will find yourself. You may find the effects are masking a sound you don't like but there is the point. going out as a 4 piece without keyboard and using less effects is the best move i made.

There some options out there

This way can be expensive, I once took the wife on a weekend away to Wales to pick up a bass, Bass cost £500 the hotel and two meals out another £250

Here is a reaction

Bridgehouse - I was thinking more " i need a new bass for the next set"

I think there is often a lot that the right combination of Bass, Amp and Cab give or subtract to what we and our band mates consider right for a given band sound, our current guitarist has settled on maple necked Strats for our band, and stopped using his expensive Gibson and PRS in this band, and the Dep we use when he can't make it was a PRS man but uses Strats with us. I have also come to terms that my Shuker works best Ash body maple neck. My M-bass has a thick walnut top and glued construction sounds great in jazz situations but does not cut as well for pop covers. I think the instrument is the most important factor then the cabs and amp last.

Thanks guys - what a great place this is

I totally agree with these last few posts, I rarely plug a bass in when in a shop. A good one will talk to you acoustically, the construction feel and set up will come through.

Thanks for your input guys

I would be happy with the quality of a Bravewood Nash or Limelight but they don't come up that often. I can't see myself shelling out thousands unless it came with 1st hand reliable history from a trusted source, unlikely. but it would probably be a good investment than sat in the bank re - Brexit etc. I started out on a 77 precision, a good one, and was aware of those that weren't - Dead spots etc. I also tried a lot of new ones through the 80's and 90's but felt the quality was seldom there. But i agree with comments in the other thread that is running that with modern materials and machining etc there could well be some good P basses in this millennium that rival 40 year old models I intend to try as many as possible and try and stay focused on feel and sound quality, even if the best has been resprayed in Mr Blobby colours

Hi Guys May well pull the trigger on a 60's P bass this year - Sunburst, rosewood board, Tort guard - wide nut job So should i risk 4-6k on a vintage instrument and risk buying a re finished Bitsa bass and possible fake Pay half that on a pukka Fender Custom shop re-pro that will be of good quality and playability Or pay half that again and go for an 80's or 90's re issue and risk a getting dog or lemon I am currently thinking middle ground here, so help me out if you have experience in any of the above Cheers

I am wondering why some bass adds people are say lovely bass ect and I cant see any photos posted at all ? Is it me

As you have touched on and Dan explained These controls a useful for boosting or cutting at a desired freq. Typically though it sounds as though Genz are tempting potential buyers by describing the sounds that could be achieved. In practice the whole purpose of these controls on an Amp is to enable you to deal with troublesome frequencies on the gig. So if you find you sound too Honky in a room with hard surfaces you will be able to find the freq causing the problem and cut the volume at that freq so your rig sounds as it does normally, likewise should you find the carpeted area you're set up in, sucks out your low mids you have the means at your disposal to boost some back in to counter that. It is more about maintain your consistent tone you like from your bass and not as an effect knob. Hope that helps all the best

Yep - totally agree, I have always viewed his vocal contribution as another instrument in the band. As good as they were together Led zep was Plant's vocal delivery.

definite issues at present, I was asked to organise a trumpet player for rehearsal last night, never heard back then e-mailed MD reference haven't got anybody yet at 4pm, they got the mail as we were leaving practice at 22:15 last night I blame GCHQ and recent alert levels ???

therealthing - The course prices are on Jon's Shuker site, presently £750 for a 3 person build course that he runs about 3 times a year. you can ask for 1:2:1 courses that cost more. As you are about the same distance from the Peak District as me, you need to factor in the cost of B&B for the week (£250) and then evening meals etc travel expenses. So not cheap, I estimate this cost me £1100+ I could have bought a nice second hand Shuker bass Jon build himself off this site for that. But of course that isn't the point it was the experience and learning process and satisfaction of producing a working bass. You need the Time - money - and inclination all three lined up for me this year so i went for it.

Walshy - was about to add a reply to your thread, What a smashing bass that grey MM is, your pictures are fine but it look a $1,000,000 in the flesh. Nice one