Ghost_Bass

I think the lack of comunication isn't a cultural or age thing. It's lack of maturity as a musician and a lack of knowing how to be in a band playing music with other people.

NO! I'm 36 and i don't look constantly at my FB, from time to time there's the odd glance just to make sure the fingers are where they're suposed to be. Same happens to the rest of my band. We live from a bit of improv and going with the flow during gigs, we also play songs that people ask even if we haven't learned them, if we didn't comunicate and look at each others we wouldn't have got half as far as we did.

Ah, i see now what you're looking for. So i suspect that your band doesn't go full on the mixer then. Well a worst brand of headphones, bluetooth ones so they don't need a cable hanging, will be able to reduce ambient noise but not be good enough to completely cancel the sound. There are some ear plugs that really bring everything down some DB's without canceling any frequency but i think they're the in-ear type. Tough one this... i think your best solution is to convince everybody to turn the volume down a little.

People look at the fingers when they start leaning how to play the instrument. When time comes to rehearse and gig you should already know where most of your notes are and pay attention to the rest of the band. This is more important for bass/drum as they need to be together and in sync along the gig. Doing short stops, endings, fills and dynamics must be with each other's knowlege so it sounds and feels as it should, in the song.

I'm not sure if i understood the OP properly but this is what came to my mind. Hearing protection, noise reduction: If you want something that also serves as a monitor then you have the Sennheiser HD280 Pro headphones that cancel out a huge amount of ambient noise and are wonderfull for bass monitoring with a excelent low-end reproduction: Don't know which kind the OP was refering to so here are both options.

Best solution for GAS: bass bashes! I was cleared of a lot of GAS and saved a lot of money through my meetings with a hand full of friends. Between all of us we tried almost every brand of high end bass and amplification you could think of. Liked some, hated some, was unispired by others. It's a great way of everybody getting to know different equipment and finding out what works for each other. And the truth is that no piece of gear is better than the other, each is more apropriate for each one of us. That's why me and my friends tried the same gear and ended with different equipment suited to each one's needs. The total investment wasn't much as it was shared by all, each time everybody replaced a few bits of equipment a new meeting was scheduled. Great fun and great lunches with very nice people.

you could also take measures of that pot and look in banzaimusic.com (i. e.) for a smaller mini-pot with the same specs and mountings. I'm sure it will exist.

One simply cannot play the bass with a light touch and slappeth the living crap out of it!

I think you're looking at this the wrong way, IMO. If you want minimal effort to play the bass with a light touch i would go for higher tension strings with the lowest action possible. With higher tension strings you get a bit less fretbuzz as they don't shake so much but with puch in the sound and the lower action compensates so you don't have to press it too much. Another important thing is to set the amp's gain as high as possible as it will allow you to have headroom with a lighter touch. Radious and relief don't mather to this, i use a flat radious fretboard with zero relief in one bass and get the same result as another with radious and relief.

But your amp head won't do a "through" output for the other amp head. If you use the fx send output you're already sending line level signal (equalized). the only way for it to work is to have an fx loop in the stage amp and feed your signal to the fx return. That way it will all work fine and the stage amp will only be used as a power amp for you rpream signal. If you want to use your own DI to PA and plug in the hired amp input you'll need a splitter cable: . -> your amp input -> DI to mixer bass -> spliter { . -> hired amp input -> cab

I don't know whats wrong with some manufacturers these days. For me it's hard to see much more value than around 3000€ for an excelent high-end mass produced bass and around 5/6000€ for a custom, one off, hand made by luthier bass. I think warwick is in the same league as a musicman and should be in the same price range, but as long as people keep buying Warwicks ate that price why not?

It's hard to reply to this thread as there's the cost of the gear, the cost of it brand new and the current value. I haven't bought everything new but here's the numbers for my main setup, the one i put on stage every week, excluding cables, mic, stands and other acessories, (see signature) in the three cathegories: Brand new, at time of purchase: TRB5PII - 2800€ Genz Benz STL9.2 - 900€ Barefaced S12T - 1200€ Korg Pitchblack - 60€ MXR BOD - 140€ Darkglass B3K - 240€ Mooer Sweeper - 70€ 3Leaf GR - 250€ EBS Multicomp - 160€ total: 5820€ ( ~ £5120) The actual cost of aquiring the gear, some of it used: TRB5PII - 1100€ Genz Benz STL9.2 - 900€ Barefaced S12T - 800€ Korg Pitchblack - 60€ MXR BOD - 140€ Darkglass B3K - 140€ Mooer Sweeper - 70€ 3Leaf GR - 250€ EBS Multicomp - 160€ total: 3470€ ( ~ £3050) The current value of the gear: TRB5PII - 1750€ Genz Benz STL9.2 - 500€ Barefaced S12T - 500€ Korg Pitchblack - 30€ MXR BOD - 80€ Darkglass B3K - 100€ Mooer Sweeper - 50€ 3Leaf GR - 100€ EBS Multicomp - 100€ total: 3210€ ( ~ £2825) I had a lot of luck with my bass. It was the reason i joined Basschat in the first place as i've found it for sale here at a bargain price of £900, and that was in the old days when euro was very strong against the pound. Every pedal exept the b3k were bought brand new, amp and cab used but before owning the shuttle 9.2 i've had a shuttle 9.0 wich i bought new from the US before they were released in europe, sold it for about the same price i got the 9.2 later when i regretted selling it so i'm counting the cost of the amp like it was bought new. Thanks to the Yammy i haven't lost much value yet. In cables, stands, straps, etc. i must have something around +300€

Well, i can see myself in your post, in every single point you raise and not even the exception on the second paragraph applies to me as my bass does every type of tone a want! btw, this is MY BASS, my pride and joy: Since owning this bass (around 2010 i think) i've lost count on the number of basses that went through my ownership (20 to 30 i would say), all came and gone, from high-end makers like Ken Smith to Fenders and Warwicks, etc. All bought with the intention of finding the perfect bass, this is, the bass that has all the plusses of this one (tone, construction quality, feel, overall balance, beauty factor) and none of it's few flaws (weight and the inability of having passive operation due to active electronics and pickups). The fact is that none of them came even close to the tone i get from it and i'm aware that only a second TRB5PII in the same wood scheme can come anywhere close to mine (i have a TRB5P and it's not the same thing, keeps hanging in the wall at home). Yet i still try and buy basses that i like the looks and specs of just to sell them on a few weeks later. It's the case of "the grass appears to be greener on the other side" followed by the realisation that what i have is better. I don't think i will ever stop buying basses but i'm more controlled now, i only buy rarities just for the sake of trying something different and only keep Japanese nechtrough high-end Yamahas in my personal collection because of my love for the brand. Same applies to other bits of gear like amps, cabs and pedals, i found what i like years ago but yet i still get drawn to new things. Like somebody said in few posts ago "What if..."

Yep, a paperclip does the trick fine but the reason for the lock isn't to make stealing harder, IMO it's just so the catches don't open whilst transporting (those kind of catches are very easy to open even by themselves). That would end badly...

Thread compressor you say... hum... (wrong thread, probably)

I don't think you'll notice much difference too.

Serched a little and found what they do in mine. From the web: I see you have earlier models of the TRB, mine has 2 trim pots and are for this exact reason, to balance the "phantom" coil or whaterver it's called with the pickups to eliminate noise. Take out your backplate (post some pics here of your electronics in each bass) and rotate the trim pots with the bass plugged in and see if you notice any difference.

Can't remember from memory, it was a long time ago that i did it after buying it, i know that i had them set to match the volume of the piezzo with the pickups and put the most amount of gain possible whilst keeping everything balanced. In all honesty, i can't even remember right now what those trim pots are for, hehehe I'll have to take out the backplate of mine soon as i'm going to replace the jack so i'll take a look at the trim pots and post my settings here afterwards.

Not allways true that you have hotter bridge pickups, in PJ basses the split coils tend to be almost allways hotter than the single coils IME.

Aren't you talking about strap pin extenders?

I have two TRB's, a 5P-II and a 5P. They're different beasts in tone and the 5P-II is my go-to bass as i can get any sound i want from it. Both are dead silent all original so my best bet is that your basses just need some maintenance to get rid of noises. You should have the electronics cleaned and checked, new quality batteries aplied and since you're at it you can cover the electronics and pickup cavities with graphite paint or copper foil and wire the bass's ground to it, it will help you get rid of ground noises and will add some shielding to it against RF interference. I haven't had to do it in any of my Yammis yet but i did it on a Ken Smith i owned wich had a bit of grounding noise. Painted the cavity with graphite spray (over an existing gold coloured paint of the same type that had soaked in to the wood with time) and hooked a wire from the electronics ground to the paint with a small wood screw, that bass became silent after that. Don't forget to take a look at the jack as it may become old, oxidized and loose with time, it will affect the signal also. If you don't have definition from those basses you must be doing something wrong with your EQ, possibly cutting the mids. TRB's are full/extended range basses very well balanced in their tone. Soloed they may give you the impression that their tone is a bit sterile without the personal character that some other brands have but it works a treat in the mix. Try recording them with flat EQ with the desired pickup configuration for the tone you want and leave all the tone shaping for the tech in production. Use fresh strings for recording, i like the d'addario prosteels with the 5P-II and the Nickelwounds with the 5P. I belive the references are EPS170-5SL and EXL170-5 respectively. Hope it helps, if not you can allways sell them to me!

By the colour of the headstock i would say it isn't a vintage bass so what i would do, if it was my bass, i would simply sand the entire headstock smooth, aply a new exact reprodution decal and coat the hedstock with some layers of new laquer. It would be the easiest and fastest solution at only the small cost of the decal and a can of laquer.

There are some bands out there taking compression very seriouly:

Naaa! If my chain is too noisy i like to use the old tried and tested method: It's also very usefull for getting a clean tone.

I'm more of a Rat Pedal type of guy, here's mine: