clauster

At a range of price points - +1 to a Leatherman (altough our drummer uses mine more than I do lol) Butane soldering iron for those emergency soledring jobs An RCD for when you don't trust the mains supply at a venue (never trust the mains at a venue) Spare leads/strap The behringer version of an FX you've been meaning to try. If you've more than one bass - double gig bag Plectra (if you're a pick man) Hipshot d-tuner (if you want to change a string pitch in a hurry) Gaffer tape Double sided velcro (great for keeping cables coiled) Subscription to Bass Guitar Magazine

At last, an amp I REALLY want GASGASGASGAS

[quote name='Delberthot' post='1041957' date='Nov 30 2010, 08:49 AM']been and gone [/quote] Ooops, didn't recognise with that avatar

Hopefully Delberthot will be along shortly. He's done (at least) two. In the meantime, have a look at the unofficialwarmoth website (just google it). Lot's of insight into building with Warmoth stuff on there.

Mine was waiting on the doormat last night. Best issue for a wihile IMO. I liked Jeff Berlins response. Yes, he can be abrasive, even arrogant, but he knows it too. I'd like to see him as a guest reviewer. At least you'd know you'd get an honest opinion The only bit that made me cringe was a couple of bits in the compression article - setting a short release on your compressor means the compressor releases your note quickly, not cuts it short grrrr.

HI guys, fallen before the first fence I'm afraid. Started feeling dodgey in a meeting this morning and have felt worse as the day goes on. Off to bed now.

[quote name='51m0n' post='1034751' date='Nov 24 2010, 09:12 AM']I didnt think Electric was that clean when I was there last, had huge ugly sounding Peavey rig (was awful) and a Markbass combo (112 of some kind) which was really nice.[/quote] +1 on the last day of our ep sessions the singer and I took a wander around first thing. Compared to the recording studio, the rest of it was a bit tatty. Doesn't seem to bother too many people though. Continually busy from mid-morning through to late evening.

Nice one Zoe And welcome back

My local one has a mix of old trace, ashdown mag and hartke. Brighton Electric ( the one with the Mark Bass amps) isn't just a rehearsal complex - there's also a good recording studio on site. They've also got a vintage SVT with matching 8 X 10.

I've sold three pedals, a firewire audio interface, most of the bits for a BFM O10/J210. A couple of times I've put feelers out for my Warwick (it doesn't get played much I'm more of a Precision man) and had plenty of interest. It's when I take it out of the bag and realise what great basses they are I decide to keep it . I've bought various bass bits too. Plenty of deals to be done if you're realistic with your price and happy to a bit of negotiation. Definitely beats E-Bay. PS The 'wick will definitely up for sale for real soon. I'm going to need the money for a Warmoth P-bass body

[quote name='cheddatom' post='1028175' date='Nov 18 2010, 04:53 PM']Can you really blow a pre-amp from driving it too hard? I didn't think so![/quote] Nope. If you drive it too hard it just clips.

I'm with Cheddatom on this one. You do not need a valve circuit to achieve clipping distortion (although a lot of people think it sounds nicer), and there's plenty of solid state distortions out there. There is also no chance of damaging speakers thrugh having too much input gain. Your ouput gain controls how much power is going to your speakers and consequently how much mechanical and heat energy they get and how close they get to maximum excursion. It's just there to get maximum level of clean sound through the preamp so you get minimum noise and distortion. "Proper" TE stuff dates back to the days when bass had to be clean. Maybe some compression and a touch of chorus, some octave down if you were feeling particularly rakish If it was dangerous then I'm sure that TE would have built some sort of limiter into the preamp circuit. Or at least have had warnings in the manual in big letters. Mind you, I wouldn't trust that manual - passive instruments usually have one volume and one tone. I never realised the Jazz bass, or the Ricky 4000 series were active basses powered by some magical means

[quote name='rageingtelephone' post='1017018' date='Nov 8 2010, 11:05 PM']I was aware of the dangers of not matching the impedance correctly, but as far as I knew I thought it was only if the impedance of the speaker was lower than the amp that damage could occur? Cheers, Thom.[/quote] Only true of solid state amps I'm afraid. Valve amps shoud be impedance matched. [b][u]I may be wrong [/b][/u](in which case someone please correct me) but if anything it's better to present a load with lower impedance than higher to a valve amp.

Only one from me - [b]Do not be bullied into rushing getting everything set up properly. [/b] A drummer I used to play with was one of the worst for this. No patience or understanding for technical stuff combined with being a big bloke with lots of tattoos. I've had experience as a live sound engineer and our singer has built and opeated hos own studio, so we both know how getting the sound right before you begin is the only way. We saw the warning signs and distracted him early. But he was getting really wound up about the three hours it took to get his kit properly tuned and damped, choose the right amps for the guitar and mic them, set the bass up for DI and Mic and compression on both lines, right mic for singers voice etc. In the end he admitted it was worth it. He was moaning on Facebook the other day that the recording he'd done with his new band sounded awful. I wonder how much of that was because the band rolled in, set-up allowed the engineer to put a few mics on poles and then insisted that he get back in the control room and press record without further ado.

[quote name='51m0n' post='1028017' date='Nov 18 2010, 03:16 PM']Its their mic list that makes me moist though.... (sorry)[/quote] It's the proper vintage SVT and 8X10 that does it for me

Hi Chris, Singer bod doesn't know where he's stored the pics, but here's a link to the studio's kit-list page - [url="http://www.brightonelectric.co.uk/techrecording.html"]Brighton Electric Studios - Kit List[/url] I'm certain last time we were there they had even more comps!

The commercial studio my current band use does pretty much everything with plug-ins except compression/limiting. I'll ask my singer (total gear slut) whether he has kept the pics he took of their racks.

I've used a few bits of my singer's PA as a bass rig before - Warwick Corvette - mini mixer (both mine) - BSS crossover - 2XQSC amps - Tubosound Sub and Turbosound Mid-top (the last four all the singers). Absolutely awesome. Next time I'm bringing both speaker stacks for the full 4.5KW experience

Some fo my favourites are already up here. Two that I don't think have had a mention - (editted to actually put them in!) 1. Pretty in Pink for similar reasons to the OP 2. O Brother, Where Art Thou? The film that made me realise country/bluegrass can actuallt be really good

Earlier this year I acquired a Squier Affinity Precision on long-term loan. Swapped the tuners and a little cash for a better set (thanks Howard) and purchased a better condition BBOT bridge (cheers Dood) and gave it a set-up to my own tastes and it's a great budget bass. Certainly good enough to gig with in my originals band. The only fault I can pick is the paint finish (far from flat) but that doesn't take away from the playability and sound. On the to do list is maybe a fret dress and a new pickup.

If it's a definite keeper, I'd go for Warmoth - pricey but top quality.

Great review Mr D. I've read it on three fora now (is it on any more?) and enjoyed it every time. fanatastic finish you've achieved with that cab and I love the name badges.

When I first peeped at this thread, I really didn't like it, but the more I get drawn back, the more I like it. Especially the headstock.

The guitarist comes up with riff ideas - I help him link it up nteresting verses and chorus patterns with bridges and a middle 8, then the drummer helps me work out the rhythm. Then the singer does words and tunage.