paul_5

I've played nothing under some aC/DC songs, nobody noticed.

Erm, isn't cobalt a bit dangerous?

mic choice depends on the sound you want. I've had great 'dirty' bass sounds using DI and a condenser mic (SE 2200a) about 2 feet in front of the cab. The condenser delivered a lot of the mids, which is where the distortion really shone on that particular amp. If you're using a dynamic mic then you'll need to be aware of the 'proximity effect' - basically if your mic is really close to the ca, then you'll get a heavier bass response, so if you want a distorted tone I'd recommend moving the mic a bit further away. The AKG D112 is a good choice for anything with a lot of low end, but to my ears it doesn't really do grindy / middy / dirty too well. Sennheiser MD421s are a brilliant all-rounder, but slightly out of your budget (unless you can get a 2nd hand one). Shure SM 57/58 might work for you a couple of inches from the grille - but you'll probably need to blend in some DI. Ultimately there are a lot of factors in this equation - size of room, room absorption etc... Just use your ears and do a few test recordings first and also bear in mind that the sound of the bass on its own might not be the right sound in the mix, particularly if you've got distorted guitars in the mix. Hope this helps, and good luck.

E.S.P. by Miles Davis. Nice

I had this a few years back too, acupuncture sorted it out and it hasn't returned since.

OR why not get one of the EHX "44 magnum" tiny amps and plug straight into your cab? [url="http://www.ehx.com/products/44-magnum"]http://www.ehx.com/products/44-magnum[/url] Looks like a good idea.

Oooh, dunno, I could just put a blend pot on my Russian Muff, but that's not quite the same is it....

[size=5][size=2]I have[/size] [size=3]no idea[/size] [size=4]what[/size] we're shouting [size=6]about!![/size][/size]

Somebody killed a Peavey amp? Pictures, or it didn't happen.

Tiny Marshall 1x12 Bas combo Trace Elliott Series 6 AH100, 2x10 and 1153 cabs Ampeg SVP PRO ashdown Mag300 Trace Elliott aH130 SM Hartke LH1000 and Hydrive 410 cab. current rig: Ampeg SVP1500 and Aguilar tone Hammer DI through Hartke Hydrive 410 cab Not bad for nearly 20 years.

If you're happy with the tone from your bass then a Sansamp would be overkill. If you're just after transferring the sound of your bass into a soundcard, but using a DI box to balance it, then you could use either a passive or active DI box. It's always nice to have an active EQ on the box, as the sound of your bass on its own may not be the right sound in the mix, and being able to EQ it on the way in means less time fiddling later on. In that instance, the Sansamp (or similar) really comes into play. The quietest (noisewise) one I've used is the Aguilar tone hammer - 2 9v batteries, mains adaptor or phantom powered. Alternatives include the already mentioned Sansamp. Also check out Dave Hall's stuff, he does an Active DI box that will run on all 3 power options already mentioned and are really low noise, i think currenty they're under a ton brand new. if you want to spend even less money, then the Behringer BDI21 gets a lot of love around here. They're about £30 and it's basically a Sansamp clone. Not sure I'd gig with one, but you'll be fine with it in the studio. HTH, Paul.

Another +1 for the valve junior, really good for the money.

That sort of thing would be most unwelcome at my kind of party - there's nothing more annoying than a four bar loop when you're trying to play Scrabble.

I bought some Roto strings last week, put them on my bass only to find that the 'G' string was pretty dead. I emailed the company, and they're sending me out a replacement today. I'd say that's pretty good customer service. That is all.

My current drummer came already "broken in". Occasionally he'll coil one out on the rug, but it's a small price to pay for his great time-keeping and unshakeable groove.

Looks like it's still in his Uncle's attic.

another recommendation for the James LoMenzo pedal. It's got a really flexible distortion/EQ control, so you can vary the frequency at which the drive kicks in. The blend control is a great feature too. That's not to say that the B3K isn't a great piece of kit (it's fecking brilliant), but not everyone's budget will stretch that far.

The bump at 12k will probably give a little bit more 'sparkle' to the performance than a bog-standard 58 or similar. Lots of engineers I know would balk at the idea of using a condenser for live vocals, but in the words of Joe Meek - "if it sounds right, it IS right".