stingrayPete1977

That is good advice! After years of string swaps I am a bit wary on this big old beast. I dont sweat that much so I think the left hand area should be ok although the cheap ones have lost their shine already in the mainly played area, what about the rosin though will that make a mess of the bridge end of the strings?

They are in transit somewhere mate along with my bow from Yita music, strings should be on before next practice with the full band on thursday though, bow will be a while yet from china though What is the best way to keep them clean after playing?

Rufus Reid book has arrived, up to page 29 already! Lots to learn there though and it pretty much makes all the other books I was reading redundant too My wife said he looks like the Nutty Professor, see what I am dealing with?

[quote name='Phil Starr' timestamp='1358001512' post='1931639'] Amplifying electric guitar or bass is a matter of design philosophies and compromises. If you are amplifying double bass or an acoustic guitar then you are usually trying to get a 'natural' sound but there's nothing natural about amplified electric bass. All speaker design is a matter of compromise. For example you can have a speaker that goes deep, you can have a speaker that is efficient and you can have a speaker that goes loud but you can't have all three because they place different demands upon the voice coils, magnets and cones. I'll explain: To make a cabinet go deep you need to add weight to the cone and put in a long voice coil to get the extra movement. A heavy cone is harder to accelerate so the speaker is less efficient. The longer voice coil means most of it will be outside of the magnet gap and you lose more efficiency. To make a speaker more efficient you can make sure all the voice coil sits inside the magnet gap so all the electrical input is used, but as soon as you put a signal in it moves out of the gap and the speaker starts to compress and distort. the deeper the bass the more air you need to move so if you want to get efficiency this way you have to limit the bass response and the power you feed to the speaker. To get the cab to be loud enough you're going to use a lot of speakers or put up with bass being limited. The one positive thing you can do is to increase the size of the magnet, There's a limit to this though, partly because the cost gets to be extraordinary and also the weight becomes significant, Eventually you also have problems with saturation of the pole pieces and so it goes on. The advent of neodymium magnets has given us a bit more wriggle room and new opportunities but at significant cost. Designers like Barefaced have grasped the opportunities of new materials and cheap amplifier power. By using long throw speakers they can get more sound out of single drivers and they can get deeper bass without compression or exceeding the limits of speaker movement but the 'cost' is very good drivers, which are expensive, and long coils which are by their nature less efficient, This isn't a problem in a world where you can buy lots of watts for relatively little outlay. The big plus is a versatile sound and light weight. You could take a completely different design philosophy though. Since the whole sound of electric bass is artificial anyway then go for the distortion, embrace the 'natural sound' of 'under-powered' valve amps driven hard and the 'louder' sound of a short voice coil in a speaker with prominent peaks in the bass and mid-range. Valve amps are pricey so you are stuck with low watts or an overdraft but you can spend on extra speakers to give you more sound for your watts. You'll lose deep bass and your top end will be restricted by the problems of multiple drivers but you'll have the classic sound of rock and incidentally the look which 'modern' designs probably still don't quite achieve. These design philosophies are only two of the options though. BFM designs for example use horns to raise efficiency, which imposes a different set of compromises and there are other conventional designs which just set the compromises in different parts of the spectrum. [/quote] Thanks, thats a good reply I actually dont really like much colour to my sound so I am after clean volume hence the Genz gear (all shuttles not streamliners) and a range of their cabs which the 2x12T is along the lines of what you are talking about anyway afaik. Also I play Db through the various rigs so I am almost after a clean single channel pa system to myself, the 3.0 and 2x12 is about as close as I can afford and a popular choice amongst uprightists (? ) Thanks

Yes I am sure he has used them live too, Pink 5 string? He also uses P basses even on some Jamiroquai stuff and obviously did for the Mark Ronson stuff, I saw him

You purchased a cab with building a suitable lab to test it first?

That's awesome! The basses not the judith thing.

[quote name='Lozz196' timestamp='1357936666' post='1930917'] I generally play a medley of Jam songs, Tube Station, Its too Bad, Eton Rifles, Town Called Malice, Funeral Pyre etc, Pump it Up by Elvis Costello, Babylons Burning by The Ruts, Magnificent Seven by The Clash, Nice & Sleazy by The Stranglers. I figure if I`m looking to buy I want to hear how the bass sounds and plays with the type of music I play live. [/quote] I tend to do the opposite and try and play (remember) something related to the bass i have picked up ie, kings of leon on a t bird, chic on a ray, something picky on a ricky! Etc I always buy the stingray anyway

I hear more stingray than people might think and like flea he gets a stingray sound out of most basses imo, fingers again

Felt restrictive having it hung around my neck and weird playing on a fretted bass with round wound strings!

Another freezer here

I guess I should be pleased with myself for firstly spotting it and secondly knowing that it does exist,I bet quite a few people would think you were having then on! I presume its in a scale that contains C and C# after that I'm a bit lost Took both a normal bass and my up right to practice tonight and felt more comfortable on the upright! Although that was the first full practice on a normal bass since the start of November, in fact the first time playing for more than five mins, spending all my time on the db instead

Bass Direct cant be too far from Oxford

[quote name='thisnameistaken' timestamp='1357819068' post='1928832'] One of the top Youtube comments is 'She's the Rodney Mullen of Bass Tricks'. I was thinking all the way through I wonder what she can do with a skateboard. And how many teeth she lost practising that routine! [/quote] I was indeed thinking kick flips and pop shuv'its too

I wondered where Johnston had gone, he must of gone during my last detox period then Anyway I thought this thread was about a bloke called Del eating something

Its one hell of a headphone amp, good on ya I'm waiting for a gig to use my 9.2 max head at

[quote name='jezzaboy' timestamp='1357736247' post='1927433'] Cruel Pete but it cheered me up! [/quote]

Would be funny if she smiled at the end to reveal most of her teeth missing!

I doubt I could read along in any kind of gig capacity at all, I read a few bars at a time then loop it all together which has been useful for learning awkward songs and getting them as the record, 2 years ago I knew nothing at all! Just been doing a bit actually and on one page which is just random crotchets across all four strings up to the 5th fret (?) and found a B# I know these double sharps and stuff exist but I doubt it would be in this novice book let alone this early a page! I guess someone pressed the # instead of the b, my other book has 2 quavers and 4 crotchets in one 4/4 bar too

It is all good fun, I am a bit bored with electric bass now you know! I fancied the bow for scales and stuff to try and get my intonation better but I might as well try some classical pieces now I have one coming How good/bad is your reading?

Yes I am loving it! My reading has improved a lot too, so much to learn all at one time, I either read and play badly or play quite well but just playing along with songs I know trying to hit the notes bang on, I also want to revisit a book I have on scales and I am still waiting for my Rufus Reid book to arrive! Then there will be the bow and maybe some more books with suitable bow music in I think these Staggs are made by the double bass manufacturers subsidised by the string,bow and rosin people just to suck us in? It is working How are you getting on with yours? have you been eyeing up that Framus in the for sale section?

Just ordered a set of Spirocore soft 3/4S I presume these are the weichs? and a pot of Nyman's bass rosin from Thomann Also ordered my bow from Yitamusic too. Almost cost as much as the Stagg did

OK the bow is on its way from Yitamusic as suggested [url="http://www.ebay.co.uk/itm/140358033272?ssPageName=STRK:MEWNX:IT&_trksid=p3984.m1497.l2648"]http://www.ebay.co.uk/itm/140358033272?ssPageName=STRK:MEWNX:IT&_trksid=p3984.m1497.l2648[/url]

White Stingrays always look great imo, although I have never owned one, I love the look of thunderbirds but they play and sound gash, as the thread is only based on looks I will still say thunderbird though

You might want to be able to mute the cabs but still have the phones live in a gigging situation too, bass tech checking for a problem on a bass before a gig, tuner is live and so are the phones both useful in that situation.