OldGit

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+1 for standing away from your amp to hear it. Bass is always louder a few feet in front of the speakers than it is when you are standing over it. I'm in the "can't hear Ashdown" department but I'd suggest the first thing you do is make sure your speakers are nearer your ears than your knees. So elevate the cab on a stand or beer crates or whatever. I have played through stacks where the 2x10 was on top of the 1x15 with the 15 cab not plugged in. Looks right and sounds a lot better, especially in a small pub. Then you can use your bass speakers as a stage monitor for your bass. Send a feed the front of house PA to get the sound out to the audience, either from a Di out on your amp or from the foot pedal. How much depends on what you've got in the PA but I give our little "vocal only" PA a touch of bass because it throws it further than my rig does, and we can play at lower volumes. There are other things you should do such as make sure the sonic spectrum is shared well in the band and that your don't have a guitarist or keyboard player with tons of bass in their sound making it hard to hear your bass when it's more quiet.

Aye +1

[quote name='Rasta' post='692703' date='Dec 23 2009, 11:52 PM']TBH though i prefer doing originals roots stuff like i am doing with an artist called Daddy Teacha, very heavy bass driven UK roots[/quote] Spotted!

[quote name='yorick' post='689662' date='Dec 20 2009, 12:22 PM']Sorry about the sideways pix.[/quote] It was doing my neck in so I turned one around for you [attachment=39330:Orange.jpg]

[quote name='Conan' post='700510' date='Jan 4 2010, 02:57 PM']Presumably your "4-string resources" won't mention the 5th string (which I assume is a low B rather than a high C) as there is no need for them to do so! From my own personal experience (which I would not necessarily recommend!), I just sat down with the 5string and played it as much as I could! Very frustrating at first, but it is getting better! It is taking me a long time to get used to the extra string as I played for about 25 years before getting a 5 and my hands (as well as my brain!) get confused... Often I am plucking one string but fretting another![/quote] +1 When I got mine I just locked the 4 away and only played the 5 for about 6 months. I released it then and now I can switch relatively easy. I do make sure I'm fretting the right string when I'm starting a tune loudly on stage 'cos I've had a few embarrasing moments However I just spotted this on ebid: [url="http://uk.ebid.net/perl/auction.cgi?auction=14972890&mo=auction#pic"]http://uk.ebid.net/perl/auction.cgi?auctio...;mo=auction#pic[/url]

[quote name='smileegee' post='700465' date='Jan 4 2010, 02:05 PM']Thanks a lot, just one thing the active one is the sound good or so so?[/quote] It was Ok. I used one exclusively for about 8 years and it was fine in a rock band. I just didn't sound like a Precision. There's little mass in the body and so the actives have to compensate for all that normally brings. To me they sound a bit too "active" and boosted. Good sound is totally subjective though .....

I've had two and the actives ones don't sound remotely like a Precision. More like an 80's Ibanez. Very good for long gigs as they are "light" and comfortable and the jazz profile neck is fast.

[quote name='redstriper' post='699491' date='Jan 3 2010, 01:40 PM']Nice one Mr. Git - the world always needs more reggae ! My band isn't confident doing covers, just versions, but I saw a band doing only ska and rocksteady covers recently and they had the place jumping. A lot of punters never heard the songs 1st time round and they really dig them now. There's a massive catalogue to draw on and it appeals to nearly everyone, young and old. Reggae is dance music, so floor filling isn't a problem if you do it right. We always start slow and build up to the faster tunes as we go on, rock audiences can be difficult with the slow rootsy numbers and they don't get dub at all, unless you go on after about 2.00 am when they've calmed down. My only advice is to do it right - it takes discipline not to overplay and lose the groove, especially with drummers and guitarists. You also need a good singer when you're covering some of the greatest songs ever made. You know you're doing it right when the punters start skanking and it usually starts with the girls, which reminds me.......... Remember to SMILE [/quote] Well that's more or less my check list, apart from the 2am bit. I'd be yawining rather than smiling Cheers Mates.

Just need this stage now

[quote name='maxrossell' post='699459' date='Jan 3 2010, 01:18 PM']Awww, you gotta love these adverts. I just looked at some in my hometown, there's a band looking for a singer, they give their myspace address, but there aren't any tracks on the myspace - apparently the tracks are for SERIOUS APPLICANTS ONLY as they're clearly going places and have lots of important top secret stuff lined up - then you find out that they don't have a rehearsal space and the guitar player's just quit. There's also a good one: [b]"Looking for a late 70s, early 80s metal singer"[/b] ... Are you [i]sure[/i] you want someone that old in a metal band?[/quote] No one around here replies when you answer an ad. Makes you wonder why they bother.

[quote name='Doddy' post='699047' date='Jan 2 2010, 08:09 PM']So the Washburn and the Traben signature models weren't enough then?[/quote] Forgot to get pension, I guess.

If I'm creating a solo I'll often sing a line along with the backing track chords, then learn the line on the bass. This gets me out of my fingers' normal tramlines. I also add in octave jumps (Some-[i]where[/i] over the rainbow) and other attractive melody features that I've heard in vocals and other instrumental solos... Gigging I do the odd lead vocal and BV's, normally, but I don't sing over my solos onstage. Might try it though Years ago I used to got watch a Jazz Jam session in London where (I subsequently found out) the house band were quite famous jazzers from the 50's and 60's. The double bass player always bowed his solos and sang along like George Benson. It was his trademark, apparently. Being Jazz he got a solo in very tune and it became a bit of a gimick and after a while got a tad tedious and samey. I just ended up wishing he'd play a pizz. one or just not sing along, now and then.

Nice to see the old thing in it's new pyjamas..

Waynepunk's done a couple of DIY paint jobs. Ask him?

[quote name='OldGit' post='697430' date='Dec 31 2009, 06:28 PM']How old is it? There's many a 60's and 70's bass that was stripped and re painted, reducing it's value massively [/quote] And yeah Everything has to come off for a proper jobbie. Don't panic though cos any good luthier will get it back together playing as as well as it does now.

How old is it? There's many a 60's and 70's bass that was stripped and re painted, reducing it's value massively

[quote name='12stringbassist' post='697170' date='Dec 31 2009, 01:33 PM']I run a UK Slade website which includes a quite comprehensive page on their live gear at [url="http://www.slayed.co.uk"]www.slayed.co.uk[/url].[/quote] Oh Hooge Respect for that man. Slade are/were brilliant!