Gareth Hughes

I've had Ashdown heads and cabs, and Epifani heads and cabs. Still have the Epifani cabs. In my experience I could never get the clarity I wanted from the Ashdown - probably why they sound so 'warm', IMO. My current set up is a Markbass LMK head into Epifani cabs - for me it's a perfect balance of clarity and warmth.

[quote name='Clarky' post='1195319' date='Apr 11 2011, 04:46 AM']and in between times am off on hols for a week to the Alps (which is why I am up so early) [/quote] See - and there was us all feeling sympathetic for you and now you're off to the Alps?!?!?!?!?!?!?? Anyone know if Rattlin Bone's drummer can bring a two kick drums to the next gig?

[quote name='LawrenceH' post='1194813' date='Apr 10 2011, 05:40 PM']If the stage space and material does also, and you're exciting exactly those frequencies with your combo coupled directly to it, then you will always struggle.[/quote] That's a very important point indeed LawrenceH. More often than not I've found that the culprit in generating feedback isn't the bass or amp itself, but frequencies from other sources. I do a regular restaurant gig with a pianist. I've stood laughing during intros where I'm not playing and watched the input meter on my GenzBenz head light up with every vocal line. Once that's happening, you're fighting a losing battle. In that particular scenario, after I exhausted the 'can you turn your vocal down?' option, I had to move the vocal monitor completely away from me as a last resource. Worked a treat. Given the large number of guys onstage with you Clarky, it might be an idea to have a diplomatic talk with the guys that are in the same sonic space as you. Do the keyboards/guitars/whatever need THAT much low-end? If they don't it could lead to a better, workable volume level overall. And then once again the band will sound amazing because of the bass player and NO-ONE will know why

Definitely give the foam ball trick a go. On my fully carved bass I used to wedge a mini foam rugby ball between the tailpiece and the front plate to mimic my hand putting pressure on the top plate. That helped a lot to reduce feedback - possible because I was also dampening the tailpiece too. In case it hasn't been mentioned already - try deadening the afterlengths of the strings between the tailpiece and bridge. I'm using thick studio foam to kill any movement. In-ear monitors are also a good option - used in conjunction with your amp. I use my amp to give me the body/low-end of the sound and the in-ears to provide definition. One good tip I got from an experienced soundguy was to get cheap in-ear headphones because they'll let in a certain amount of stage noise/room ambience. That way you're not shut off from the rest of the band/audience and you don't have to worry about setting up a channel/mic to hear every one else. I use a hardwired pack from Fischer and had Thomann headphones before changing to Sennheiser IE8's.

Result!!!!! As a noob I must have gone about 4 years playing with the most hideous, demoralising action before I went to a luthier. I always put it out because I thought it would be insanely expensive. Thankfully it wasn't, but even if it had been it would have been worth it to have an instrument that was a joy to play and not a struggle.

Thanks. It is a lovely thing indeed to have an appreciative audience - tho it makes it all the harder to play the gigs where you're little more than a glorified jukebox. My biggest joy working with Kieran is playing beside a guitarist with a great sense of rhythm - that's a rarity!!

Here's one from 2008, though the DVD was just released last week. Playing my much missed, but sadly feedback inducing, carved bass I bought from Ken Smith. I can't blame it for my dodgy intonation tho Artist is Kieran Goss, with special guest Brendan Murphy

What about a Euphonic Audio Wizzy 10 or 12? Not sealed and they do have a whizzer cone that brings you up to about 5K, but they are 4ohm and quite small.

[quote name='JPJ' post='1190462' date='Apr 6 2011, 01:32 PM']Troll: to fish for by dragging baited hook or lure but if your up for starting a sticky on correct usage of the English language......... [/quote] You're both right - but 'trolling' on a forum implies starting a thread for the sole purpose of sh*t-stirring. I'm assuming that's what Zach was correcting you on. And yep, I'd happily share whatever nuggets I'm collected over the years - if anything to just save someone a few quid and much frustration. Work shall commence shortly!!!

You should get on to Trace Elliot for an endorsement now and make the circle complete. Well done on such a great job.

No problem - hope it gets sorted for you. I've had no problems with either of my APT-Flex pickups - one a month or so old, the other over a year old. Lets hope you just got a dodgy one.

Maybe not the solution you're looking for if you're suspecting the APT-Flex caused the Contra death - but you're welcome to borrow mine. I could have it in the post tomorrow morning, guaranteed next day delivery. Leave me a PM if that's an option and I'll get it tomorrow morning - having an early night tonight. Gigs and 2 year olds don't mix.

Thanks for that - a good read indeed.

Yep, Slava Publishing is where I got mine. But you don't need to go to such extremes - the one you get from there is just a bent bit of steel with a rubber tip, not an actual endpin with a threaded tip. They suggest a 45 degree angle, which I feel is a bit much unless you're leaning it back exactly like Rabbath. Using mine the bass is more like when I'm sitting down - it's still to the side of me, just leaning in more. One solution to try before you get your own endpin bent is to go to a steel works - where they make such things are fences, gates, etc (I handily have one here within walking distance) and try out something from there - such as an iron rod of similar dimensions. The iron isn't as strong as steel but it's plenty strong to take the weight of the bass. I recently took a new endpin (because it has a threaded tip for a good rubber foot I got for it) and got it bent rather than welded to the angle I wanted. Just brought in the old one and took the angle from that. They had a quite scary - made for Mafia torture scenes - bit of machinery that bent the steel like it was rubber. Yes, you need to have a flat surface to stop the pin rotating. I did this with an iron file I happened to have from my Grandad, but I also had it done on an iron rod at the steel works. Theirs is the quicker way I'd suggest if you go with the steel works way to just get it bent first - take it home and experiment with just where you have it placed in relation to the angle it exits the body (if that makes sense). The pin will hold enough for you to practice with without rotating. Then once you've settled on that take it back to get a flat bit grinded at that spot. Apologies if this isn't very clear - my 2 year old is wanting up from his afternoon nap and I'm ignoring him

Ay, that'll be Laurence at Overwater. Good guy indeed. Helped me out with a few Euphonic Audio problems.

Check out with Customs tho about the amp coming back to you. Unless you notify them they will charge you import duties on the amp coming back. Not nice. I had this explained once when checking about doing the same thing - sending an amp back to the US for repair. There's some sort of form you need to fill in to register that you already own the amp before you send it of. Doesn't guarantee you won't get hit with import duties but it should help reduce them.

Great transcriptions and bass sounds on your site Mike - thanks for putting those all up there for us to check out.

I'd totally vouch for Thomann customer service as being some of the best you'll find. They are at the mercy of the courier when it comes to delivery. Yes, they choose the courier but they have no influence on whatever gimp couldn't be bothered to get out of the van and walk up your driveway. I was told my double bass would arrive on a certain day. I waited in, it didn't arrive. Contacted Thomann who gave me the courier info. Contacted them, told them I'd wasted a day off work (blatant lie - work? me?). This was at Friday, 5pm-ish. Courier said it would be out Monday - I said I couldn't take another day of work, kicked up a bit of fuss. They delivered it the next morning. As for the dodgy finish around the input - I can't imagine you having any problems getting that sorted. If you do let us know.

Fair points indeed. Thanks for that. Anytime I have to play it I try to get away from the intro line and just walk over the Dorian as soon as possible.

If any of the music shops available to me had anywhere near the level of customer support that Thomann offers, then I'd have no problem keeping things local. I've even gone as far as having basses made locally to support business here. But when you're dealing with staff that won't order flatwound strings because 'they're crap and no-one likes them' even though you're standing there requesting them.... well, all of a sudden that £10 shipping charge and online buying seem pretty unbeatable.

[quote name='Bilbo' post='1179202' date='Mar 28 2011, 10:17 AM']...listen to Moondance and you have a lesson in how NOT to construct a walking line.[/quote] Hey Bilbo - I agree from a listening point of view, but could you explain that from a theory standpoint? (I'll be the first to admit my knowledge in this area isn't the strongest).

Thanks for this, and for everything on your site. After reading over the bass part I had a minor heart-attack listening to the clip on CD-Baby and realising the speed it is to be played at. Why do I even get out of bed?

Make sure you double check that everything you've ordered is in the boxes BEFORE you sign anything. Thomann are very cool in dealing with mistakes - but they do advise you check everything. Otherwise it's your word against theirs as technically your signature means the bass was in the box when it turns out it wasn't. Then Thomann would have every right to think you're pulling a fast one. So -once again: double check that everything you've ordered is in the boxes [b]BEFORE[/b] you sign anything. Delivery guys are usually cool if you explain what's going on. I had a guy wait ten minutes at least while I unpacked my double bass from Thomann to make sure there were no cracks, open seams, etc. Thomann's return policy and customer service is solid. And like other's have pointed out (and I have frustratingly experienced) - definitely a step above some UK stores.

I thank you!!!!