mcnach

[quote name='Geek99' timestamp='1471865876' post='3116447'] Squier deluxe - come up on eBay quite often [/quote] that's the one!

[quote name='Lw.' timestamp='1471864955' post='3116428'] Limelight, Harley Benton, Sire, Maruszczyk, Fender Rumble V3 combos & at some point or another every boutique manufacturer of 1x12 cabs. Though it does seem to be the same c10 people powering through each craze before keeping the forum in business via the classifieds! [/quote] Are you enjoying your TKS S112s?

[quote name='drTStingray' timestamp='1471861259' post='3116373'] 4) Talkbass - 19 mm string spacing MM SR5 - however that one was about 800 posts and 5 orders placed so the proposal was canned. Goes to show how much hot air can float around a forum!! [/quote] That was BS. They asked for x orders in a month. When I was subsequently in the market for a 5 string, if a Stingray with 19mm spacing were available I'd have got one (I went Lakland instead). But that particular month was not the right one for me to order anything. The whole thing was designed to fail, to give EB the opportunity to say "look, I tried, there were no takers". Which I don't get since they do not need to justify to anybody what they choose to produce or not. But the whole EBMM world is a... complex one, to say the least

actually, with your budget... Squier made that active Jazz 4/5 string with ebanol fingerboard. They were pretty tasty, going used for about £200 or little more... they were wide spacing too. I had one for a while too.

[quote name='Bigwan' timestamp='1471846810' post='3116229'] Up the budget a little and you're into Lakland 55-01 territory. 19mm spacing and the best neck in the business. Sire V7 is 18mm and it's no slouch either... [/quote] +1 on the Lakland. I had a Skyline one, a 55-02 I think it was... it was fantastic. Like you, I favour wide spacing 5-string basses and the Lakland was the only one I truly felt at home from day 1.

[quote name='Lozz196' timestamp='1471785023' post='3115811'] Just picked up my BF Two10 & Four10 stack. Can`t wait to give the Four10 a try on Tues (the whole stack may be a bit over-powering for a 15x15 rehearsal room). [/quote] wow! that is something I'd love to hear I'd be interested on your impressions of a single Two10's sound/performance. How you'd compare it, say, against a MarkBass CMD121P combo (for no other reason that you owned one and so did I). I'm newly Barefacedless, but the Two10 or a pair of them is something I'm interested to explore.

[quote name='TheGreek' timestamp='1471792554' post='3115903'] Remember the furore about Class D amps and how good they were and how well they compared to Tube Amps? [size=5][b]How good Sue Ryder basses are[/b]?[/size] The list is pretty much endless. I think it comes down to how easily impressed we can be and how we feel the need to tell others about how those items surpassed our expectations when it happens. Personally I'm happy to listen to the opinions of others - sometimes I learn something positive sometimes I learn that I don't agree with others... [/quote] Sue Ryder... how good they were *for the price*. Nobody was claiming that a £100 bass was a big contender. I still have one, turned fretless, with a pickup change. I preferred it to a CIJ Fender Precision 70s reissue fretless I used to own

[quote name='stingrayPete1977' timestamp='1471794886' post='3115921'] The answer to your question is of course, both :-) [/quote] This man often has the correct ideas, and this is no exception A big difference between the Stingray and the Sterling, apart from the smaller body, is that the Sterling also has a thinner neck, more 'jazz-like'. That's a deal breaker for me, as I don't like those necks. Just something else to consider, apart from the sound. I love the Stingray, for sound and feel. It's the bass I use 90% of the time, or more. It's a one-pickup bass, but hugely versatile. The USA made SUB range, made between 2003 and 2006 is very interesting not only because of the 'marmite' finishes and the much lower price despite being essentially full blooded Stingrays, but because the early ones appeared to have the pickup wired in series as opposed to the usual parallel configuration. This makes them meatier and punchier than a standard Stingray, and complements the 2-band EQ on those basses really well. I have both a 2002 Stingray and a 2003 SUB (series), and they're both slightly different amazing beasts... just to add another factor to the pot

[quote name='karlfer' timestamp='1471769585' post='3115627'] Steve mailed me about this bass and I suggested he put it on Basschat as it's a very niche market bass. But I'd forgotten totally about Jose The Red Looks fabulous fella, enjoy! [/quote] Ha ha! "Jose The Red" No longer red cabs, but I still got the shoes! I've always been surprised that there's not so much love for a Jazz with P neck, while there's a lot of people who clearly like Precision necks. And a Precision with a Jazz neck seems to be a very popular option. Today I'm playing my first gig with a band I'm depping for at a festival near Stirling, so last night I was going through the song list with the Jazz. The truss rod needed a tweak as it had far too much relief for my liking, but how I hate body end adjusting rods! Still... I thought I could adjust this one simply after removing pickguard: nope. Not enough clearance. So there we go... loosen up strings and neck screws... a couple of crack noises...this body/neck joint is pretty tight! About a 1/3 of a turn tightening it, and put back together... magic! That did it. No buzzing, low action, and sounds great... I'm tempted to take it away today... but for gigs when I'm not entirely confident with the material I'd rather take the Stingray as that bass is 'home'... but I next weekend we have a few gigs down in England, and maybe I'll just take the Jazz. Don't you hate it when you want to play with your new toy but you know you have to be sensible?

[quote name='dood' timestamp='1471732771' post='3115493'] Looks great! Are the RW necks 'A' profile? i.e 40mm nut? I've got a 70's P bass which I think is a 41mm and it is super nice! [/quote] I don't know the A C etc profiles... but it's ~44mm wide, much like the Classic 50s series. I love that wide fretboard.

I was selling my Barefaced Big Baby 2 cabs, and a number of trades were offered. I was adamant that the only thing that would tempt me would be a Barefaced Two10. However... an evil person made me an offer I could not refuse. How? It was a Jazz. I already have Jazz basses. That's not enough. It was red. I like red basses. I already have a red jazz bass. It has a J-Retro. I am partial to J-Retro preamps in my Jazz basses. It had a maple fingerboard. That's interesting but I'm not after a Jazz bass. It is a roadworn series bass. Ah cool... I have really liked every single one I've tried. The neck is from a Precision roadworn. WHAT??? Yup. A roadworn Jazz, with the neck of a roadworn Precision. Making it a really amazing Jazz bass, for I dislike the thin necks in those. So I went, tried, and it's now mine mine mine. I love that neck... Precision neck into a lovely Jazz... perfect.

[quote name='Paul S' timestamp='1471592667' post='3114182'] Indeed! Takes me quite a bit longer. It would take me longet than 3 mins to find the spare string! Compare and contrast- to unplug the non-functioning bass, take it off, put it down, put on the spare sat on the stage next to me, plug it in - takes around 1 minute. [/quote] That's because you have placed your backup bass near and ready... if you did the same with your spare strings...

[quote name='Paul S' timestamp='1471519286' post='3113589'] I broke a string at a rehearsal once and, ever since, have taken a back up to a gig - tuned and ready to go. Usually my Hohner B2B - takes up very little space on stage or in the car. [/quote] I broke my G string once. It took me about 2 minutes to get it replaced and tuned. Meanwhile, the band launched into an impromptu funky jam with the singer improvising lyrics mocking me about breaking my G string It was probably the highlight of the gig for most of the audience! As long as you don't all just stand there looking at your feet doing nothing, a string change is not a problem, I don't think.

[quote name='TimR' timestamp='1471518717' post='3113582'] I've never used a backup. I have had a failure that I got round and since then take a backup but 1 failure in 30years? [b]How high profile are the gigs?[/b] [/quote] That's it, for me. I take one bass, usually. Plus extra strings, cables, batteries... I judge the risk to be pretty low, and if I have to stop playing entirely it won't be the end of the world. However, for 'important' gigs I would take another bass. What you consider 'important' may vary... in my case, in an originals band, we generally don't play functions but we sometimes get asked to play at a wedding. In a situation like that I'd carry backup bass/amp, but for most gigs I won't bother. If it's a gig where we're trying to impress someone, whether it's to open up new venues for us or whatever, then I'd typically carry backup too. But that's about it.

[quote name='blue' timestamp='1471473618' post='3113371'] Thanks, I'm resting up for a grueling 4 hour bar gig Friday night at Kim's Lake Side. Ridiculously small place, but everyone plays there and the owners understand the bar band business. The crowd is cool and we always seem to do well there. It's a lake bar and the clientele has big money. Not unusual to see folks dropping 20s in the tip jar. [b]I know you guys question tipping, but it's a big part of our service culture in the States.[/b] Blue [/quote] We mostly just question why waiters etc don't get a salary just like any other worker, and let tips be 'rewards' for going a little further than is needed in making the experience a pleasant one. It just seems unfair to treat waiters differently from other workers. I have done stints waiting tables as a student, it's hard work as it is, remaining polite and respectful even with the most unpleasant customers, without adding the worry about whether I'd make enough money to pay rent or not.

[quote name='solo4652' timestamp='1471446378' post='3113118'] I've just jotted down the band's rehearsal history. It's a start-up band, and the full has only met 3 times: Rehearsal 1 - Went ahead without lead singer who was sick. Room costs split between those present. Rehearsal 2 - As rehearsal 1 Rehearsal 3 - As rehearsals 1 and 2 Rehearsal 4 - Cancelled. Guitarist's wife sick. No room costs Rehearsal 5 - Cancelled. Both singers (man and wife) sick. No room costs Rehearsal 6 - Cancelled. Guitarist's wife sick. No room costs At this point, I suggested a short summer break while people recovered from various illnesses, and the guitarist's wife gave birth. Rehearsal 7 - All present! Room costs split evenly Rehearsal 8 - All present, but guitarist and both singers arrived with no money. Room costs split between drummer and myself. Rehearsal 9 - All present. Room costs split between those who didn't pay the previous time. Rehearsal 10 - Due tonight. Cancelled late because guitarist's wife is sick. Guitarist has offered to pay room costs. [/quote] That's quite a run! Unless I really really really liked that band, I'd be looking elsewhere... sounds like it could be fun people to hang with but I'm not sure it's looking very promising regarding getting gigs, and I am not sure I'd trust them not to have to cancel gigs too often.

[quote name='Coilte' timestamp='1471439427' post='3113047'] My initial response is , yes, he should pay. Why should the rest of the band be out of pocket, because he can't make it ? Granted, emergencies can happen at any time, but again, that's not the fault of the band. Having said the above, I suppose it would depend on a few things : 1. Does this guy make a habit of pulling out of practice at the last minute. 2. The type of "emergency". 3. The general attitude of the band members. [/quote] good response. I've been in bands where the 'culprit' would pay for it. In my present and longest-serving band, we just absorb it on the next one and we all pay. That's because it's a rare occurrence and nobody just blows off practice without a reason in a way we need to cancel. More often what we'd get is that a member cannot make it... but provided it's not the drummer (or myself sometimes too), we still go ahead. We have 3 guitarists, one of which is the main singer but another also sings, a trumpet and a sax player... we still get lots done if one is missing. Our 'practices' comprise both rehearsing new songs and jamming/coming up with new ideas and developing them... so not everybody needs to be present.