stingrayPete1977

awesome

Ears first, fly sh*t if they are out there second or if it's worth getting it bang on.

[quote name='LukeFRC' timestamp='1342188172' post='1731192'] so translated... this bass will give you.... 1) something that might increase the sustain 2) something to stop the sustain 3) softer versions of maple less suitable for a bass neck than non figured 4) a shiney thing 5) a different sticker on it 6) another shiny thing 7) pretty colours. and [b]8) possibly a 5th string[/b] [/quote] See they got me with number 8! This is what the Ray 5 should of been in '87 other than the slab body IMO, I love my 5's but they are Silouhette basses really aren't they? The classic has the best of everything, basically a pre EB with a fancy neck, 6 bolt neck plate and wheel of fortune but with the mute bridge with the string thru option and the 2 band EQ, if it had a contoured body it would be even better but not really a pre EB copy which is what it is rather than an 80's EBMM Ray copy as they were contoured from day one in '84.

Flea really has not done that much slapping for a long time, It does not help that he has a style that is quite funky even when playing fingered which sounds almost like he is slapping even when he is not, the Guy Dave in my sig at the bottom has a similar bass playing style but plays no slap at all. Like a lot of people we hear what is prominent from a band/artiste and presume thats all they do, some of Flea's best lines are very melodic and gently played in fact..... [media]http://www.youtube.com/watch?v=0XcN12uVHeQ[/media] 4 mins on is the best bit of the best Chili's songs IMO If your looking for Richard Bona or Janek stuff sure its nothing like but you cant say there is no groove there, you just cant!

[quote name='mcnach' timestamp='1342124028' post='1730130'] You turn the bass all they way up? I normally don't go beyond a quarter of its travel, or a bit more perhaps. [/quote] Oh yes it's FTW there's no thump down there Jose, come to the dark side

I must admit I'm getting the equally as bad Guitar saddles confused with the bass saddles concerning the thinness but stripped threads it was all the same.

It was a 70's P bass I think, Tele style one? Just knackered threads, probably first stripped when being adjusted under tension after the first one went the second would of been taking all the strain in reality. I have just text Neil, he will be surprsied that I know already

It was actually a string through I was playing when the bridge saddle collapsed, the trouble with the thin plate saddle is that it only has a few turns of the saddle height adjusting pin in contact with it to spread the pressure, this makes stripped threads more common than something like a billet cut chunk of steel that has dozens of screw thread turns in contact all the way through, if that makes sense? A new saddle or rethread the stripped one up to the next size pin is an easy fix, not so easy during a gig though is it?

Not his white Jazz with the blocks? Really nice bloke is Neil, I presume he told you about our secret little geek meets then? You have let the cat out of the bag now that not only do I have some (very few) real friends I also know some with very nice basses and my judgements are mostly made on playing the actual things rather than reading what other people have said about them!

Now I did not say that....

Haha, how come you met him!? (and what a lovely Sadowsky, thats how a Fender should be )

Needles!

Again who cares about the tone if the thing was previously falling apart as you played it? If yours are fine and you like them leave them alone, if yours like mine is not then either get another BBOT and see if that solves it or fit something, err..... better

If your after a 4 string a proper pre EB knocks spots off it and will retain if not increase in value on the other hand I really want a classic 5 as that obviously is not an option any other way, all the best bits of my pre EB with an extra string whats not to like?! They appear to be much zingier than a pre EB Ray which is odd as I have the same circuit but that said you can cut the treble, the necks are fabulous and they look super cool over all. The slab body takes a few gigs to get used to but after that its fine, the muted bridges are cool for some old skool tones too. Are you familiar with the 2 band Ray in general? If not and you take either for a test drive, bass on full then adjust the treble pot like you would a tone pot on a P bass, massive range of tones all on one pot

Other than a Squier Jazz I dont use much these days as it a 4 string all of my others are in the first group, just dont tell the wife

The MM bridge is thicker and larger, this in itself is the dictionary term for more mass! Also it has solid machined saddles and two enormous mounting points too boot, the G&L is even more extreme as it one of the chunkiest bridges out there, to suggest Leo did not feel a need to improve this area is madness

Soul to squeeze is one of their least known tracks yet one of if not their best, no slapping walking on hands or anything, just a great groove I was at knebworth and he was more solid than previous times I have seen them also his sound for once was really good, gave me Modulus gas big time! As for knocking him I don't know? Each to their own but do not feed the trolls

All sockets now mate on a new house! In fact all burried cables so that's your whole house if it was built in the last 2 years.

I have never played for fear of GAS!

It was because of my temperamental ABM I started doing it

Btw before I got the 3.0 I had a Laney head that cost me £100, I just left it in the van unless it was a wedding/function then I would set it up and leave it at the back within arms reach just in case, it was something to do while the speeches dragged on and on .......

It's more of a clean tone than the Streamliner from everyone else's opinions, sure it's not an Ampeg but it weighs less than 100 of them and so what if you have a sans amp with great sounds, if you can't go through the pa we can't hear you obviously you could get a sansamp or similar plus a class D amp if that's the sound your after £40 on top of the amp would cover almost every situation other than a power cut!

[quote name='TimR' timestamp='1341941774' post='1726705'] Yes. The transformer comment was separate to my answer. But the first part stands. Test BEFORE you plug any of your kit in. So it's a bad idea to have it permanently connected with the rest of your kit. [/quote] In the rack case plugged in is a great place to keep it to save losing it though IMO, plug it in before you start to make sure then pop it back in the rack power point once your done wont hurt anything.

I see not many people are reading the bit about the PA not being able to take the bass, not much use having a DI box! I have a Shuttle 6.0 as my main amp and a Shuttle 3.0 as a spare/for anyone else wanting to use my rig on the night, not exactly hard to carry and both function as no load required DI boxes if that is an option, The valve/FET pre amps can still be used too warm it up a bit. The 3.0 also gets used as my main practice amp with a 1x10 at home, the same or something similar is as they say FTW, not much bigger than a DI box but can get you out of the sh*t where a DI box cant always

Over time the regs will just keep moving towards RCD in all cases unfortunatley the dog and duck are keen to keep using the old Wylex fuse board that was installed when the Beatles were on the bill. We are a bit exposed to this in our musical world which most folk will not realise, as someone who tinkers with old cars when Im not playing bass most of the tools have become either class 2 (no earth required) or even just battery operated (or air), most of our kit uses a good old earth making it an area where its still leaving us open to earth faults where a lot of other pass times or even careers are not, kitchen staff are probably the other main ones off the top of my head where earthed class 1 gear is still the main type of kit used.