gilmour

Can't help I'm afraid, but I love the look of those really early Wal's I've always dreamed of having a clone made in 5 string format... but time, money etc.

I remember playing a Cirrus 5 string, neck through in the late 90's (or maybe very early 00's) in California. Couldn't for the life of me tell you the model etc. I do remember it being one of the nicest basses I've ever played and went back into the shop about half a dozen times to play it! Just couldn't stretch my wallet that far at the time (think it was $1700 and I was a student). I played another Cirrus 5 a few years later in a shop in the UK and didn't like it half as much, it was much cheaper and I was gutted.

I sold this cab a fair few years ago and can't for the life of me remember who to! Anyway, I'm thinking of building another one but then thought I'd see if whoever I sold it too is still using it etc. So if you do have it please get in touch, would love to know how it's getting on TBH.

I've recently been rebuilding my pedal board and digging out a few older pedals that I haven't used for some years. I'm happy with the sound and setup, however a few of the pedals are quite crackly both on the pots and output sockets. Can i just squirt them liberally with switch cleaner, or is there a better process to go through to recondition pedals? Ta

[quote name='RAY AGAINST THE MACHINE' timestamp='1458764523' post='3010714'] I'm a little confused. I was under the impression a 5 string would take care of all turnings , except maybe low g or something . [/quote] To be honest so was I until recently I've played my 5 for years and years without any issues, just finding for this project it's just not coming out right so experimenting a little with other ideas.

I hadn't thought about the nut I had e graphite neck and I'm pretty sure it's moulded in. Think I'll order a 4 string set for my knock around P Bass, see how it goes. Do you have to do a big set up?

[quote name='charic' timestamp='1458747608' post='3010484'] I use Newtone strings when drop tuning, they make me sets specifically for it [/quote] Oh Cool Just on a 4 string? One thought had occurred to me was to tune up the B on a 5 and everything else down?

Hi All, Hope this is the right forum for this stuff. I'm looking for some advice on what I guess is called Drop C tuning. Meaning that that the whole bass is down a tone then the lowest string down a further tone. I've been working on an album playing guitar (a first for me) and have just started to track the bass. The guitar sounds really nice in this tuning. When tracking the bass I've just been using my Stingray 5 in regular tuning and transposing. I had tried Detuning a 4 string P Bass but the strings were so loose they sounded like they were about to fall off This has presented me three problems: 1) It's mind bending transposing stuff, this is a pain in the arse but by no means insurmountable. 2) Some of the rifts 'make more sense' using open strings on the Drop C guitar, so when playing them on a regular tuned bass can be very awkward to play, again not insurmountable. 3) I've found it really hard to get a bass tone with enough punch when dos of the work is done on the low B. Haven't found way around this yet. So I'm really looking for little advice on what others do in Drop C (or similar alternative tunings), particularly from the point of view of strings/setup/tone etc. Thanks in advance.

Loving that finish Rich!

I think RItters look incredible and have enjoyed during over this thread. Don't think I'd ever get one though, they're more than I could ever afford but more importantly I'd live in permanent terror that my clumsy hands would drop it or something

Sounds really interesting, can ou let me know some more details please?

Glad to see some progress on this after such a difficult period and hiatus - good things come to those who wait though

Steve Vai (I know he's not an upright player) advocates peeing on your own hands to build up tougher calluses. Rumour has it no one will shake hands with Steve Vai.

Robbie's work is so neat. Always looks spot on.

[quote name='Alex B' timestamp='1419943297' post='2644134']Out of interest, what would you say the going rate for NYE gigs is at your typical local pub/social club venue in terms of percentage greater than your usual fee? I ask as the one we were offered, the guy was willing to pay about an additional half on top of our usual fee. We thought that was a little low, considering we got double our usual fee for a Christmas Eve gig this year. [/quote] For me i'd say half to double is acceptable (depending on what that is). TBH I really enjoy a good NYE gig, I'm not bothered by being out drinking with friends, but a few beers, playing some music, enthusiastic crowd... there are worse ways to spend a night

I love NYE gigs, I didn't have one last year and wasn't really sure what happens! Picked up a dep this year with a really nice group of guys, the set's incredibly eclectic, from The White Stripes through to the Jungle Book

[quote name='tommorichards' timestamp='1419093185' post='2636519'] the steampunk plate definitely suits the white p bass [/quote] Yeah that rocks

I love the concept but was also finding the pick guard a little busy. (Although on a plain bass it would look all kinds of awesome). I'd go for something a little plainer. If it's Steampunk I'd also avoid any plastic TBH, maybe copper, leather or wood?

hmmm loads to think about and try here. Thank you all. I have tried them in a different order, I didn't care for the sound as much. FWIW my signal chain is: Compressor > Octave > Overdrive > Noise gate My Octave is set with the 'normal' up 100% the octave at about 40% and then range switch to high. There's sometimes some other stuff in there after the O/D but not at the moment and tends not to be run with other effects. I tried them around the other way before - I just didn't care for the sound so much. I need to play around some more but my instinct is that it's a tracking issue as it's not so much that it looses all low end, more that it just sounds 'sloppy' loosing any tight punchy sound.

Thanks for the replies guys. I'll have a look at a clean blender and see if there's anyone I can borrow one form to play with. I think you're probably right about it not tracking the lower notes as in the higher register it sounds great, but lower a little messy. I used to use the Octave a lot on it's own and wasn't entirely unhappy with the tracking on the lower notes but once it got overdrive on it as well it loses too much of the punchy low end. I have it set to play up an Octave as opposed to down. I'm given to understand that the EBS is one of the pedals that tracks the best?

Looking for suggestions... I really like the combination of Octave (EBS Octabass) and Overdrive (Mad prof blueberry) however I find when I engage both at once I loose a bit of the punch when playing in the lower register. I'm sure this a "have my cake and eat it" but is there anyway I can retain it? I'm not against getting extra bits of kit in the quest of tonal nirvana

I really don't like doing pub(bar) gigs. Don't get me wrong I love playing live, it's my favourite thing, and I'm out most weekends. However I find that when you're playing in a pub you can be competing with all sorts of other attention grabbers, I've done gigs where they haven't turned off the football on TV, hell I've done some where they haven't even turned the volume of the TV down! I want to do good gigs, at places with stages, and a light or two pointing at the band, and a decent PA and sound engineer etc. I'll do the pub gigs from time to time but frankly the hassle of dragging a PA there, competing with everything else going on, doing a long show, then packing it all down and getting home late, just isn't worth it for a few free beers and a couple of quid in my pocket. God I sound like a sour old hack but I love playing, I love gigging live, and I also know how much effort everyone else who does this thing puts in and frankly it annoys me to see them being treated second rate at most (but not all) pub venues.

I hadn't thought about doing any work to it TBH as I just assumed it wouldn't be worth it. It doesn't have a great acoustic sound, I mean it's ok but not deep & full & rich like some I've heard. It has a pretty hard life the gigs I do vary from nice arts centres and theatres through to back room pubs and blues bars, so it already has it's far share of knocks and dents. The irony is this year I let gigging take a back seat and have only done about 30 shows - only 3 of them on electric all the rest on upright or ukulele! Which seems ridiculous as they're the two cheapest instruments I own