deepbass5

Versatile Bassist reqd for Metal project. Is that an Oxymoron

In Reply to Pete, I put a Badass on my 77 P bass and it made a noticeable difference to the tone in a good way, and I would buy again. I am sure this effect varies greatly from bass to bass, but I think they would be out of business by now if customers thought they were a waste of time. Fender put them on the Highway more recently!! I’m sure string through may have the same effect by creating down force similar to the mass of a good heavy bridge. I put string through ferrules on my Schacks to give me more string buying options, I also wanted to see if it made a difference in sound of my B & E string and can't say that it has, but they had good solid bridges anyway.

The Pole shows one thing, No good trying to sell ya fancy £3k axe on here. I've seen much better players than me holding down a wicked grove on a beaten up old Squire So I do agree with the comment spend the money on lessons

I would pay up to 2k for a new bass I felt right for me, but i cannot see that a 3k 5k or 7k bass is that many times better than a 1 or 2k bass My schack cost £1100 new, they're now £2.5k they are nice but there is lots of competition at that price My second hand SS1 cost me £1k great price I would pay £1800 new not £2.5k My second hand Shuker cost me £1k It is as good as any £2k bass I think you can get a good working bass from between 500 - 1000 new and a very good second hand one from the guys on here

Some years back, but I only used it for bi amping the top end, Peavey advocated this as a simple way to utilise the bi amp out on their 1x15 combo's.

Pat Testing, Yep bought my own Pat tester in the end. I have been asked for certificates ahead of gigs, but never on the night. It’s all good to show on your web site that you are a professionally minded outfit, but it seems it is all coming out of my pocket.

This is always a difficult one, I also play in a non profit making Big Band and these things are a drain on your resources. I did comment in other threads about the MU, as I am a member it now costs me about £150/ y but I do get my own instrument cover which is comforting, had a radio mic stolen in Jan this year and they paid up £450. No probs, I also benefit from the PLI and as I own all the gear PA lights etc. I consider if there is a claim then it will be against me, i.e. a speaker falls on someone or the gear catches fire. Other members are not in the MU, that's their choice. Some may frown at this as all members are encouraged to Lobby others to join, but this is the real world. There are many companies who offer this insurance it’s just finding the best. I would go for an annual cover rather than for a one off event. Hencilla Canworth Limited cover the MU try them direct.

As I also play my five string electric in a swing band, I have always felt aware of jazz purists frowning that I don't at least double on upright. Then I was shocked on seeing the RAF band the Squadronaires Live and the bass player was using a Variax, so how convincing is its upright sound?. I would have thought he would have been court marshalled for even suggesting using one in such a high profile outfit. But happy in the knowledge I can mention this if the topic should come up. They do not feel right to me even before plugging them in.

Love you guys for your passion, really like these techno threads. Harmonics. It’s worth remembering it is our ear and brain's ability to sort harmonics that we can tell if a note e.g. (C concert) is played on a Clarinet a Piano or a Trumpet. Mens voices have more harmonics than a female voice, this makes a male voice clearer and easier to understand than a female voice, which is why women should not be used to make anouncemense at train stations. So from all this you may sort of understand why a good sounding cab has more to do with selection and matching of components and construction and much testing than just going for the 0 - 60mph figure and the go fast stripe most manufacturers want us to go for. I also understood that a Bass Viol sounds low mostly due to its unique harmonics due to its scale length

All of these, purspex sheet seems popular, lighter than wood. But i am still struggling on, Cruisin for a Bluesin we are doing at present five sheets long with a D.S. I have seperated this into a two and a three sheet'er. still a pain. I also mark all key changes and repeats with felt pen - Green and D.S and D.C's in Red. It all helps.

I don't use Fuzz so can help there but would suggest keep the dry signal high, if it is a boss Octave, try the dry signal 75% (3 o’clock) and the oct 1 at between 12 and 1 o'clock with the second lower octave off. Most of my pedals are sorted but I still occasionally get my Dynamic Wah out of sync with the room. Good luck

Are you relying heavily on your effects for your basic tone? This may be the issue, although we all suffer from this set up problem. There are similar comments in a multi effects unit v individual pedal thread. Get your tone nailed from your hands to Bass and amp; use the effects as the icing on cake if possible. Keeping the dry signal high. Make sure you get some sound check time. Q. Is this problem via a multi effects unit? If so try not programming loads of different effects to make up each sound, may be a return to the default settings and try that and tweak a little at a time. Take your rig down to your village hall and try things alone.

Interesting how most hate them. About 20 years ago I got a Yamaha FX500 because our guitarist had one and was impressed, they did bring out a bass unit later the FX500B. But with all these programmable units what you sort out at home sounds S--t on stage. I actually worked out settings for every song we did and logged the step numbers to the set list. That lasted all of one Gig. I then got down to about 5 useful settings for certain songs. But any over or under volume, depth or speed could not be adjusted if it sounded bad in the live situation. Things have moved on but don't like um.. I now have a small pedal board, comp, Oct, chorus, flanger, synth, and bass xciter. I don’t always use them, could get by with just the Chorus and the Octave

Yep, these make a lot of difference and not too obtrusive. just a bass treble pot by East.

John East Delux, thats the one with the passive tone pot that runs along side the active, I'm hooked on this in my Shuker although my Schack active takes some beating.

Pino is also my favourite finger style in the pocket bass players check out Paul Carrack Blue Views album,

check out [url="http://www.woodland-gmbh.de"]http://www.woodland-gmbh.de[/url] Helps if you speak German, but he makes great basses and supplies loads of the main manufacturers

So they really are linked to the Sue Ryder homes. Just thought it must be a coincidence

I have been on this site for about 9 months now, and keep seeing reference to 'Sue Ryder Bass' Put me and I guess others out of our misery and explain cheers