deepbass5

We all need to be checking for venue wiring faults, we should treat it like tuning, as we would not go on without tuning up. Our Guitarist got a belt on Saturday night from his mouth on the mic, and back through his guitar. I am a bit annoyed as I am a spark and carry the kit to test this but don't always do so in plush new Hotels. But on checking after the gig, there was an earth fault on the socket his side of the stage. So any stray current in his rig used the earthed mic back through the desk to find its way home. Answer is get one of these cheap devices could save a life. oh ya and use it every gig

For those interested who reside in neighbouring counties Berks Oxon, Wiltshire, Hants. Mo Foster is giving a talk as part of Hungerford's community Arts festival on Wed 18th July 7.30pm Croft hall Hungerford Tickets are free in advance from The Newbury Building society in Town. Anyone intersested, and fancy meeting up for a Pint, I'll even pick up some tickets in advance if that helps. you buy the beer http://www.hadcaf.co.uk/whatson/2012programme.php

BigRed, that’s my finding too. Manufacturers do a disservice to themselves and the customer by thinking to put a cheap 5 string on the market compliments their product range. I view a five string bass as a different instrument, it needs to be approached in a different way and benefits from quality material selection and set up. But to answer the question yes quite a few 5 strings suffer from bad 'B's

You just needs some basses on there. it'll look fine. use different colour basses to tie it into the room decor. Job done.

I have owned 8 bass amps in 30 years. If I was made to choose one it would be my LMK Mark bass head. Plug n play good sound straight out of the bag. They let the harmonics breath and you need that presence cutting through in a gig environment. I really like my GK MB500 fusion which I got as a backup to the MB. Great for low volume jazz gigs, and I used it all last night with two different basses to get to know it more in louder band situations, I'm getting there but there are too many sounds variations to mess up if you need to change styles throughout the night. So ease of use I still give Mark Bass top slot. Not so keen on their Cabs don’t know why possibly built to size and look rather than physics. My stock setting is finger style Bass = 12<1 Low Mid= cut 10<11 High Mid = 12 High = 12 VPF= scoop 9 VFE= off channel two for Disco Funk Bass= 12 Low mid = cut 10 High Mid= 12 high =12 VLP = scoop 11<12 or 1 oclock I do think MB have too many product lines that will be their undoing.

mmmmmmm http://youtu.be/9Rhvxy0r2Do My problem is I don't have enough life expectancy to get to room 4

I can vouch for the MB500 fusion. It’s loud. As Lozz stated I have not got much above 9 o'clock on mine. Love the warmth for Jazz and hotel dinner dance gigs. You do have to temper the contour and gain settings on louder gigs and use the Amp end more than the gain to stay clean and articulate. But that’s the beauty the valves and presets are there when you want it, you don't have to cook with them all the time. I wonder what this new baby will sound like through an 8 x 10

I didn't know it was 2k now. Have to say looking at some of these quotes, I'll stick with the union as the combined benefits are better ie the other reasons you mention. Had a radio mic taken last year whilst packing away. Despite being very vigilant. They paid up very fast no problem.

Funny, We have only ever had drunk people fall on us and damage our equipment, not the other way round. MU is now £155 without double checking but you do get £1000 of instrument cover chucked in with your £10,000,000 of idiot insurance.

Gone to new home

Where outside ? if you are in a school playground or at the back of the village hall, the hard reflective surfaces will help loads. But set up on grass in the middle of a field you could be sunk. see you mention bass bins+ On big gigs I do mic guitar and pan across PA and DI mine just to give weight but you need drums mic'd bass drum and Highhat, min. Tip if there are any spare fold out tables, grab three or four and lay them on there side behind you to reflect your sound out, great for open backed guitar combos and helps the drums too, and allows you to hear each othe better.

Have tried Thomastik and Roto 77 real smooth flats but preferred Elites ground wound ss best for tone and perceived tension 45 - 130

comments removed. all the best.

Aphex Bass xciter = phat

Buy once. Is my advice and so save money long term, (like what we do on here ) even if you have to borrow to get the right bargain now. Agree with Lozz, on watts and the trace / Peavey used kit suggestions, Another suggestion is swap amps with your guitarist, the ratio of watts for bass and guitar would be about right then Also go out and get the book "Stuff good bass players should know" by Glenn Letsch (Hal- Loenard) Its all in there and more, I bought it twenty years too late. and still learnt stuff

Buy the bloody Carvin, what you waiting for. A top notch computer machined Ebony board, neck through, + bridge pickup these are top notch basses, PM him tonight

A smileee face EQ helps best, but I find a compressor is required to help even out the two distict different forms of attack slap n pop. the treble can cut through and the thumbed note gets lost, bring up the bass to compensate and it blooms all over everything, a good sound is down to technique and EQ settings on your amp and bass, but put a good comp between you and the Amp can help sort some issues, and is kinder to your amp and speakers. This is from someone who can't slap to save his life. but if i could it would sound good a bit of chorus or flange on the top end can do the bizz too.

Amen. Chris b.

[size=3]Hi Lawrence, seems I was wondering all the same things you were, as the amp seems geared toward an overdriven channel stomp facility. But it is better than that single market application. It can get a dirty if you crank the gain up to 3-4 o’clock; I only tried it to see. It is not noticeable at any normal gain setting, in fact the grit lovers may actually be disappointed in the amount of distortion available, and it’s subtle. That is not my bag at all, I just love the valve warmth which to be honest I did not think possible from just a preamp. I have previously owned an Ampeg B1, also with three valves and preset buttons; it was very nice but not as flexible as this or as warm. You do need to go easy on the settings at loud volumes and come back a tad on the contour to get some life and high mids back in your sound, basically what is a great finger style setting needs a tweak for pop or funk, sometimes I find I have no bass left anywhere to turn down. So I am obviously starting out too far that way. My only suggestion to GK is that it was a shame to have a channel footswitch for dirt lovers, when a footswitch for mid freq shift would have been for more useful. [/size] [size=3]Gig wise I set up both my amps on top of each other as a ready to go spare, and swap speaker and mains cables over, during sound check to see which suits the hall best, then end up swapping over in the interval.[/size] [size=3]It’s a keeper. [/size]

I can sympathise with the sentiment as we have a loud drummer who uses heavy sticks, but wonder if we bass players would accept it if the rest of the band told us to play with gloves on, use rubber picks or ganged up to set our amp gain to cap our volume. I think commitment by the drummer to practise to be able to play with a light touch when required is the way to go. Musicianship. Or buy Perspex screens and refuse to mic him would be another way. Recognising bad rooms with reflective surfaces and agreeing as a band before you start that we're gunna sound sh*t tonight if we don't all keep it to a realistic level, is always a good start.

Got mine from Markorbit and him from Owen. I was concerned that they both said the sound was not for them, two quick pass on's is enough to make you doubt the reviews. But I love it. Very warm old school. I use it with my EA 12” M lines This is now my main amp for swing band jazz gigs, I have used it for function band work but think I still prefer the flexibility and cut my Markbass LMK gives me, due to constant style changes, Funk, Ballard to Rock. Just worth noting here, I changed out the valves for some 40 year old as new boxed NOS British 12AX7's There is a difference in the warmth and bass and low mid, but not as much as I had been led to believe from valve buff web chat. So anyone thinking the same the selected valves by GK are pretty damn good. I got the AX7's from a radio buff friends shed, not yet negotiated a price but you can pay £80-£100 each. £50 the lot sounds about right for the improvement gained. If you do change valves best undo the bridge rectifier board cables then un screw this and the transformer, lift them out the chassis, to be able to undo the valve caps. You can't get a BA spinner to the nuts between the valves to lift these out three in a line. So has to be the incoming power supply that gets moved. Great Amp, would not part with it,