rmshaw37

not the same speaker but i use a kappa pro 15a and that sounds awesome by itself - 8 ohm though, dont know if you can get a 4ohm? only thing i've found is that i want a couple 10's to sit on top of it, due to playing gigs through 410s recently, i need the attack, but for bass freqs its awesome!

just wondering if i'm the only person to try them and not like them?? i felt i just lost all the atmosphere, even if everything is going through them! and if something is missing, you lose your cue! plus i move around that much on stage, plus the headbanging, they never stay in, no matter how well moulded or how much tape i use! personal opinion is its fine if its a big budget thing where you stay pretty still, otherwise, dont bother!

i have to agree with the ashdown opinion, they are very warm - but as a warning, dont seem to do anything else! i've never been able to get any kind of snap out of any ashdown cabs i've played through! but thats just my experience!

i have to agree - if you have access to it, a pillar drill with metal drill bits

i have 2 preamps that i use, both are set to boost bass and treble to about 2 o clock, and boost the 2k to about 4 - 5 o clock, bit of tubey overdrive sound, then the rest really is in the fingers!! i use a gene simmons punisher with active emg p pup i play hard over the pickup if i want my rocky tone, and pluck with my thumb nearer the neck for the ballady stuff and finger over the jazz pickup for if theres a bit of a lead break! i've used this theory for our band for ages, even playing stupid versions of our song in a jazz or country or speed metal way! the only time i've had to use a pick is in the studio for a certain tone for fast root noting stuff! so saying tone is all in the fingers is for the most part true, where you play with your left hand (if you're right handed) has such a massive variety on tone theres very little need for further amp eq-ing, that said i very rarely play slap, in which case (possibly down to my little experience slapping) so do tweek a bit then ooh and i actually took the tone control out of my bass and used the hole for my jack input instead

industry standard for a sound guy is £140, plus if you're borrowing their PA its £100 plus if its their backline you can add another £80! thats £320 .......... but thats dogs danglys stuff if its just a PA for a 50 capacity place, surely you can borrow a PA! even a peaveys on sticks sort of PA with the owner of the desk running it, you could pick it up for £50! we have our own PA for just such occasions, probably cost us £100 out an admag or something similar, 50 capacity venue you wouldnt need more than a 1k pa and you can definately hire a room out really cheap! loads of pubs now do free venue hire, and for much bigger rooms than 50 folks! still the backline is the issue, but if you're running it yourself then you can allow changeovers! we've done a couple of gigs in a church, sh*tty sound plus all the expense of a pro sound guy, but massive amounts of room for stashing gear, plus massive capacity! thats a great one to invite younger bands to, as younger bands have all their school friends thinking how cool it is that their mate is even IN a band! everything is do-able, just depends on if you can be arsed! (OOH a big church hall is big enough to let off pyrotechnics too!)

can i just add that with these thousands of pounds worth of gear, does it not withstand abuse? thousands of pounds mis spent to me! with all the wattage available you'd be deaf before the amp blew! the only trouble i've had with not being allowed to borrow backline is normally jumped up tribute bands that are too high and mighty to let anyone touch their gear! they think cause they've spent 20 years playing live they are the only ones who know how to use an amp!then they usually get blown off stage by us! lol if you dont find out what gear is needed before you go to the gig (by talking to the other bassists in the bands playing that night) then you have seriously never had the shaft with gear! most changeovers in pubs and festivals are SOOO much easier and quicker and ensure your band have a good shot at having a good sound when you go on! i'm more than happy to lend my gear out if i'm aware of the situation in advance, cause i know it will cope with what i throw at it, so i know it will cope with a more inexperienced player! if i'm told there is a house bass amp, i take my own cause it is without exception, crap! sorry for the rant, but thats the way its been for the last 10 years on the live pub/ club/ festival rock scene! maybe its different for muso jazzy sorts

[quote name='Spike Vincent' post='859228' date='Jun 6 2010, 07:59 PM']They weren't a free form jazz band,by any chance?There'as always scope for a little personalisation,but if you're being paid to play someone else's stuff,then that's what you do.[/quote] i agree totally, if you're playing your own songs, then do what you want! if you're a function band and getting paid to play covers, cover it, don't get cocky! they arent there to see you, play the songs you're gettin paid to play!! as musicians we recognise talent, as punters, we want to hear the song as written, thats why they are famouas tunes, and most of us aren't! sorry for the rant, but no one really had this opinion yet!

sounds to me like HEAVY compression, light plectrum, and seriously detuned, most of which has been said already! best of luck

Dear bass agony aunt, the other half does not understand that the more gear i have, the more my willy will grow! how can i convince her of this fact, and simultaneously have more money for gear (as i am underpriveleged in the, ahem, gear department!) yours, pinkie!

not that model, my bro (the guitar player) has a morley like that, but not my model!

cool, any ideas where i could ick one up?

the way i tackle the bass in our band is to make everything sound bigger! if the guitars sound thin, mirror them, if the drums need beefing up, sync in with the rhythm, if all is well, play something that holds your interest! seems to work with our kind of hard rock/ metal - same effect as backing vocals! metal aint really a place to stick bass at the forefront, but it aint half as heavy without us!

they are cracking ideas bud! always thought about a loop engager, but to switch on the whole line of pedals! such a simple but effect-ive (moan) way to do it! thankyou

we play a venue called MFN near eastwood in the midlands, and evry single band that goes there complains about the sound guy, to the point where people dont go because even the best bands sound crap! they have an awesome system, but to drum up local interest, we have to spread the word that we're taking our own engineer, but of course it takes our engineers a couple of hours to accimatise to the system cause the £50 a night engineer as mucked it all up! shame really cause the owner was a member of a famous band, so has the awesome system, but refuses to pay for a decent engineer! weird

i'm much the same matey, scouring the forums on here is definately bad for me! so much GAS but then i roll up to practice, and can't fault my gear! i'd still like to upgrade my squire affinity jazz, but it can wait as i dont gig it! just when i play different venues and my sound changes radically and with horrible stages and horrible shaped rooms, sometimes you have to wonder!

highly interested in this myself - i have the affinity jazz - gorgeous to play but bought it to do up, considering emg and badass bridge, let us know please someone (i didnt have the £900 to start with though!)

so what sort of stuff are you gonna play in your band?? if its one guitar then go jazz route, you'll fill the sound much more, but if theres 2 guitars, you can sound lower with a precision style, if looks arent an issue, dont worry about sound! from your pic of flea, i'd assume you'll be playing similar stuff! (so jazz esque route!) amp wise, starting out, you just need to bear in mind that you need AT LEAST 100 watts to get over the drummer! but tbh you have to spend a serious amount of money before you get into quality amps. i'd get one with an extension cab option so if in future you can push it that little bit more! a cheap amp with something like a sansamp pedal will go a long way though! as always, this type of thing is individual choice, and best way is to get out there and see what you like! dont know about the rest of you but i wish i'd have had basschat when i started out!

hi there, i have a morley pro 2 wah/volume/distortion pedal, i love the wah and the distortion sounds! but when i play live there is a problem. i wear new rock boots, and those tiny little switches are too close to the expression pedal and does not allow for quick changes before i run off to do the entertaining bit, just wondered if theres a way to mod it so it kicks in the distortion at the same time as the wah, and possibly could it be modded to become switchless? if its too much of a ball ache, could someone recommend a wah that is switchless, and flicks on the distortion at the same time - as i only ever use the wah with distortion! cheers basschatters!

i have a shuttle 6 - i found it to be awesome! i will agree with the preamp though i use a sansamp rpm rackmount, plus tuner and soon wireless! the shuttle sits on top of these purely for a power amp and i havent found a situation where this aint powerful enough! yes it does look a bit daft sat on top of a stack, but the shallow rack makes it look less so! i've never got on with hartke stuff, but never really tested thoroughly! as always, its down to personal preferance, but i find the weight savings worth soooooooo much! best of luck with the choice!

last 15" driver i swapped was an eminence kappa 15a - gorgeous peak about 2k which is ace for finger style!!