lonestar

Mine has. As do all the non-vintage models. I think???

[quote name='jono b' post='103976' date='Dec 13 2007, 05:38 PM']Just went to get a quote, £81 for a year, includes breakdown cover, in vehicle cover, covered if I'm away from the insured location, EU cover for when my band goes away, no £250 excess AND public liability too. Not bad, methinks [/quote] Go for it. is that with Musicguard?

I use Musicguard. No claims yet thankfully but they seem pretty good. One other important point. If you're gigging it makes sense to also have public liability insurance which is inclued I think. Insurance is very un rock 'n roll I know but if someone was injured at a gig due to you or your gear, eg tripping over a lead and sued it could cost you your house! Plus some booking agents and venues insist on it. To insure about £2k worth of stuff all risks plus PL insurance costs me about £60 a year.

[quote name='wotnwhy' post='103220' date='Dec 12 2007, 01:29 PM']"Though John Entwhistle.... looking a bit rough!" true, but if what i heard was true, he left us doing coke in a hotel room with a hooker in las vegas yes? pretty good going for a man of his age![/quote] I think Roger Daltrey said something along the lines of "It's a death any man could be proud of".

[quote name='P-T-P' post='103160' date='Dec 12 2007, 11:57 AM']As much as I can see where people who think that a metronome can be quite clinical are coming from, I think perhaps, as others have said, it's a case of the metronome not being used correctly that's the problem. The clicks are a reference point. Playing along with a metronome should be about how you fill and/or not fill the spaces between the clicks and how you learn to control where you place your notes in relationship to the beat. It also encourages you to open your ears to and pay attention to another sound source while playing. By gaining control of your internal clock and increasing your ability to hear outside what you are playing, when the time comes to be playing with other musicians, you're going to be better prepared to adapt to the idiosyncrasies of your fellow musician's time-keeping so that the overall output is that little more coherent or that the "locked-in" sensation is reached that much quicker. I have a drummer friend who is a slave to the metronome. He can do amazing things in all sorts of weird time signatures... when playing solo. Put him in a band and he is completely void of feel and speeds up, slows down comepletely randomly because he hasn't go that crutch he's so used to. He is a great example of metronome taken too far. I sat down with him and a metronome clicking 1/4 notes and said, "Can you hear it swinging?" and he looked at me like I had 10 heads. I was talking in conceptual terms of course, but it illustrates the point of using a metronome as a springboard. On the flip side, the guitarist in my band has played for 30 odd years and never rehearsed with a metronome. He will tell you that he listens to the drummer for his time cues. This is a lie. He is in his own little world and doesn't listen to anyone until he notices that something is seriously odd about what's being played and then goes around the houses and finally realises it's him! Unless he is being hit over the head with the beat, he wouldn't have a clue it was there. He also plays way ahead of the beat and just can't adjust from that place at all. He is a nightmare to record. I think if you dismiss the metronome completely you are just making it harder to get to the final goal of a coherent performance. I think if you get four musicians who regularly use the metronome as a guide and then another four who subscribe to the "I have my own sense of time" school of thought and ask each group to put together a performance of the same song, all other things being equal, time and again the metronomophiles will get there quicker. If you asked a guitarist, bassist, singer and pianist to learn a tune they are all familiar with but have never actually worked out, independently of each other and with no score, chord charts, cd etc. for reference - i.e. to work it out by ear - what are the chances that, when you put the four of them together, they'll all start off playing in the same key? We wouldn't dream of being that casual with the melodic quality of the notes we play, why are people content to allow the rhythmic quality to be left entirely to chance?[/quote] I couldn't of put it better or agree more. Thanks PTP

I don't know if this is any help or of interest but I have a '94 twin which melted it's transformer. After replacing a blown fuse at a rehearsal. I noticed a burning smell and looked in the back to see all power amp valves glowing like fluorescent tubes and black molten stuff dripping from the power transformer. It was still under warranty so it went back to Fender (then arbiter in Cricklewood) via Coda music where I bought it who were extremely helpful in chasin Fender. They replaced the transformer and valves. Apparently the transformer fitted in the US was only rated 220v and they upgraded it to 240v. it's been fine ever since. I don't know whereabouts you are but you could try Panic Music near Cambridge. They aren't cheap so get an estimate. you can find them via google I should think.

Very nice. i really like that sound. Is that a metal fretboard?

I really enjoyed this. Great stuff

[quote name='Mikey D' post='98078' date='Dec 3 2007, 01:02 PM']Thelonious Monk!?[/quote] "Talking about music is fishing about architecture". the original quote is by Frank Zappa he also wrote: "Rock journalism is people who can't write, interviewing people who can't talk for people who can't read". What a hero!

[quote name='simon1964' post='97216' date='Dec 1 2007, 01:44 PM']I took the plunge and bought the Jeff Berlin model this morning (essentially the 1x15 combo without the tweeter). First impressions are very very good. And it sounds fantastic - very nice tight sound, especially for a 1x15. Much loader than my 300 watt Ashdown, sounds better, but half the weight![/quote] Brilliant I'm sure you'll enjoy it, especially in the lower back lumbar region. We should all form a Markbass user group!

Schallers for me. I did however have to reduce the screw holes on my jazz to take the skinny schaller screws; matchstick and a bit of wood glue did the trick. Grolsch tip sounds good though!

[url="http://cgi.ebay.co.uk/MarkBass-Mark-Bass-AMP-CMD-121H-400W-RMS-Boxed_W0QQitemZ160184490171QQihZ006QQcategoryZ58719QQssPageNameZWDVWQQrdZ1QQcmdZViewItem"]http://cgi.ebay.co.uk/MarkBass-Mark-Bass-A...1QQcmdZViewItem[/url] Is this of interest to anyone?

It was so long ago I can't remember if it was Money by Pink Floyd or Paranoid by Black Sabbath

[quote name='zero9' post='95061' date='Nov 27 2007, 01:25 PM']Hello, So, you're thinking of buying a Double Bass (DB). I moved from Electric Bass to Electric Upright Bass to Double Bass. Last May I bought a new Stentor Arcadia DB and had it set up by a specialist (new bridge, new post, new strings and action adjusted to my style), total cost about £2k. The DB is made in China and came complete with cover and bow (both reasonable quality). I am extermely happy with the Stentor and it plays and sounds superb. I have never had lessons and found it fairly striaghtforward to get on with the DB. Trust your ears and put in as much practice as you can. You don't necessarily need a teacher (unless you feel this will boost your confidence or your trying to learn proper bowing technique). The important thing is to practice practice practice.... and if that doesn't work, practice some more (read some stuff on Danny Thompson). Good luck with your move to DB. Wil[/quote] ++1 on Danny Thompson he's one of my heroes what a player! Probably the main inspiration for me to get interested in upright bass. can you suggest any further reading?

[quote name='merchant' post='94676' date='Nov 26 2007, 06:09 PM']The first thing anyone who is thinking about buying a (their first) double bass should do is STOP. Take a deep breath. Count to a hundred then get a teacher. There are various ways to find teachers, but phoning music departments in schools in your area is a good start. They may not have a bass teacher, but will know of one. This teacher will be invaluable in regard to every aspect of playing a doublebass. Firstly you'll have lessons on their instrument. An instrument way beyond the reaches of a first time buyer and this is a very very good thing as it will take the wow factor off basses you look at to buy. Have lessons for a good couple of months (albeit 1 a week, one a fortnight or one a month). Your teacher will address all the starting points and help tell you what to look for. Now you are ready to go shopping. Be prepared for this process to take months (I'm currently shopping for a new bass and have been since early september). Your locale wil dictate what dealers you have to turn to, but be prepared to travel relatively long distances. It's worth it. The basses aren't going to come to you so you have to go to the basses. Private sales are good, but you wont be able to take an instrument on approval like you might with a dealer. In instances like this you may have to take your teacher with you (yes you will probably have to pay for their time) to help judge if the instrument is worth it. Rough costings: If you intend to buy a brand new bass you will need at least £1500 (bag and bow will cost extra) If you intend to buy a second hand bass you will need a grand as a minimum (you will definitely find something below this though) You will find new laminate basses for under £1500, but I personally don't see these as a viable starting point. I'm not anti laminate basses, but there are some old gems out there that won't drop in value like a new lam bass does. A carved bass will serve you better no matter what music you play. Just have these words rining in your head: DO NOT buy a bass unless you can play it. DO NOT buy a bass from an internet shop. In terms of brands/country or origin don't worry. Every country that makes basses has made turkeys and diamonds. Treat every doublebass on its individaul merits. This isn't a buying guide, just some pointers. Specifics are easier to deal with so please ask anything. Where abouts in UK are you? Thomas[/quote] I have just started thinking along the getting some double bass lessons line too with a view towards possibly a EUB. Thanks Thomas for a very helpful posting Regards mike

I have a CMD 102P combo and would throughly recommend it. Question1: Never tried this so can't comment Question 2: I've never had the master volume past 2 at any gig indoor or out. It's very loud with plenty of punch. I'll never cart a stack around again. Question 3:Even without using the VLE filter and with the controls all flat, ie midway there is plenty of low end with my Jazz bass. Dial in a bit of bottom say 1-2 o'clock and it's a real thumper. Judicious use of VLE (not too much) plus a Precision should get just the sound you describe. I find that the filters are good especially slapping with a bit of VLF but more often than not just set the tone controls midway and adjust things on my bass with a combination of pickup blend, tone control hand position and fingers or pick technique. Try one you'll love it

All good advice above. I find the Fender specs on their setup guides a really good starting point, eg 12 thou neck relief and 6/64" action, rather than trying to balance the two adjustments together as a pro guitar tech might. If you take your time and stay away from irreversible changes, ie filing frets or nut slots, follow the instructions and make small adjustments you shouldn't get into trouble. it's really satisfying when you get the hang of it. I'd highly recommend this book: [url="http://www.amazon.com/Guitar-Player-Repair-Guide-Erlewine/dp/0879302917/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1195161322&sr=1-1"]http://www.amazon.com/Guitar-Player-Repair...1322&sr=1-1[/url] Mike

In my limited experience find that rosewood boards have lots more middle and warmth where as maple is definitely brighter sounding.

I had one of these for about a year and thoroughly agree with all the positive comments. They're great basses. They are really easy to set up properly, just use Fender factory specs from their site. Worked a treat for me As for the switches: select both pickups on, phase switch up towards you and active on, occasionally switching to the treble boost for slapping, I found the most useful configuration.

[quote name='neilb' post='70063' date='Oct 5 2007, 05:16 PM']The Ox - Why didnt you listen to your doctor?[/quote] but as Roger Daltrey was quoted, I think. "It was a death any man would be proud of."

Good wasn't it? Cracking band, but I agree not the easiest material to listen too. I miss Weather Report. Shame about Joe's passing. There is a transcription of Havona in last months Bass Player mag. Now that's what happens when the bass player writes a tune! Wish I could play more than a couple of bars of it. One day perhaps???

[quote name='jon_kemo' post='48926' date='Aug 22 2007, 01:16 PM']Ok thanks alot for your help. That was my plan anyway but I thought I'd run it by you guys anyway in case you knew. Cheers, Jon[/quote] I have a similar problem with my newly acquired Peavey TL5 here is my original post: [i][i][i]"I have just acquired a late model 1990's one of these with a dodgy treble/bass pot. It's a stacked concentric one and I've tried the usual jet air followed by switch cleaner thing but I think it needs replacing. Anyone know the correct type and where I can source one? I might as well replace the mid/mid sweep one too I guess. Peavey UK didn't want to know and were no help at all as the bass is "obsolete". Any other info on these basses also greatly appreciated. I've not seen one before but its otherwise really nice".[/i][/i] I got a better response from Peavey USA who have supplied part numbers and confirmed that they have the parts but neglected to tell me how or where to get them! Good luck!

Thanks for the help chaps. What a great resource this forum is. I'm awaiting a response from Peavey US who have the parts but haven't told me how to buy them! I'll try WD. had a look at Status. they have 10k and 100k but not 50k whick I think mine is. Doh!

I have just acquired a late model 1990's one of these with a dodgy treble/bass pot. It's a stacked concentric one and I've tried the usual jet air followed by switch cleaner thing but I think it needs replacing. Anyone know the correct type and where I can source one? I might as well replace the mid/mid sweep one too I guess. Peavey UK didn't want to know and were no help at all as the bass is "obsolete". Any other info on these basses also greatly appreciated. I've not seen one before but its otherwise really nice.

Ditto comments about the bass merchant. i got mine from him. a business doing pleasure with him! No surprises from the Bass centre then?