neepheid

Welcome to the forum It's a good feeling when you get something right. Multiply that by 1000 when you're getting it right when playing with other musicians. Multiply that by a further 1000 when you're getting it right when playing with other musicians on stage in front of an audience.

+1 for OBBM, excellent quality cables.

I am not the world's best bass player. So considering they could find someone with greater playing skill than me I can only assume my presence in my band is tolerated for my affable nature, my IT skills (myspace page etc.), my production of set list sheets for the gig, ability to provide a rig should the gig require it, own transport, turn up (on time) for rehearsals etc. A secretary who happens to play a bit of bass, then

Welcome to the forum

+1 for cheap cola (diet) before: after:

Most of the venues I play in have house backline, so I don't need to worry about it. I've had to take my rig on 3 occasions and any sharing's been arranged beforehand, myspace messages and the likes. Our drummer lives a bit out of town so tends to give me a hand with it seeing as he's got the car and passing anyway. My cab is vastly overrated for my head (will take 600W, is getting 230W max in 8ohm, it's on permanent vacation!) so I'm not worried about it being blown up. No need to get precious about settings - I know my settings, it doesn't take long to get it back if someone's changed them. The only thing I won't tolerate is drinks on top. Thankfully I've never had to intervene yet. As long as I have a quick chat with the bass players in the other bands first I'm pretty relaxed about it. In general I've had a positive experience - people generally respectful of gear and even complimenting my rig (which is hardly earthshatteringly good, but I guess it's a damn sight better than nothing). I resent assumptions being made about the availability of my equipment for sharing. I'm just not that into amps. I've come to the conclusion that as long as you can hear yourself on stage then that's half the battle. Tonal nuances are for recording and solo playing. Basses are another thing entirely. There's no way on God's green Earth that I'd loan a stranger one of my basses for a gig.

Just received a speaker cable from Dave, it's a beauty! Super quick, reliable, courteous service - why would you get leads anywhere else?

Just trying to play the "always look on the bright side of life" card: You did get some benefit - you learned some new songs in quite a short space of time. This intensive workout will surely translate into better playing.

For stubborn press fit knobs, I slide the edge of a cloth (get that old t-shirt ripped up) underneath the knob, encircle it with the cloth then pull up. Get it right and it'll come right off and won't ping across the room because it's in the cloth.

Welcome to the forum

I'd just stick another strap button in the hole

I've owned only a few gems and a load of cheapskate tat, but my top 5 is as follows: 1. Gibson G-3 (never being sold, ever) 2. G&L Tribute L-2000 (despite a difficult start I'm really digging this one now and I can't see the point in getting a USA model) 3. Epiphone Les Paul (Not So) Standard (so much work gone in - EMGed to death, selector switch added) 4. Traben Chaos Attack (nice enough bass, light, well made, good sound, recorded with it, but ultimately didn't have that special attachment to it) 5. Fecker Imprecision (cobbled together Squier, Fender, Seymour Duncan, Badass - notable for having the lowest non buzzing action I ever achieved on a bass)

Hmph, I was watching that. Guy had it listed starting at 99p but with hours to go pulled it and put it back up at £160 BIN. Annoying, it was sitting at < £100 when he pulled it, I was hoping he wasn't paying attention

Welcome to the forum

Welcome to the forum

I played recorder at primary school until I was left as the last boy in recorder group. Ahh, if I knew then what I know now I did get a guitar before I got a bass, but it was a brief flirtation - I didn't play it much. Even when I did, I always preferred the sound of the lowest strings. The only instruments I achieved any proficiency in were recorder and bass.

It's got a few gouges in it

[quote name='Ou7shined' post='847282' date='May 25 2010, 10:37 AM']The relic'd look I could live with but I've never seen faked fretboard wear that looks real or nice even. This bass is no exception. Love this alienating line though. [/quote] I've never seen real fretboard wear that looks nice, and yes that includes my G-3

The screw holes will be all in the wrong places on any Squier, relative to a Fender Mex or USA. Fill and redrill is your only recourse (and possibly some judicious alterations around the neck pocket/pickup holes of the pickguard) if you want to fit the one you bought. Not much you can do if it doesn't quite cover the control cavity though. I managed to fit a Mex pickguard to a Squier body, but had to fill most of the existing screwholes and drill new ones, and there was a position where the control cavity would be filled (just), but it left a small gap at the heel of the neck. The alternative would be to get a copy made of the existing Squier one, there are a few places which will copy a pickguard for you. That at least ought to be a reasonable match.

Block inlays. Binding. I don't see why all those skinny necked types should get all the finery.

I did a wiring repair on one of these once. It was green. Not my cup of tea visually, but it had a really nice neck on it and it felt good to play. One of the knobs had a push/pull which looked/sounded like it did some kind of parallel/series switching?

My own opinion is that once a week is plenty. Some weeks it doesn't work out for whatever reason, we don't worry about it. The only thing I basically insist upon is that we rehearse in full set list mode in the run up to a gig. With gigs a while away I've got no problem with using the practice time to jam/flesh out new songs; you've got to keep coming up with new stuff and the practice room is the only place we can get together to do that. Sometimes I do some practice with our drummer, a bit of rhythm section extra homework if you will. It's about an hour's drive to his house, but it's better than nothing in the weeks where we can't practice as a band.

G&L L-2000 uses a 1Meg reverse log pot for the bass control and I think it was labelled C1M as well. You can get replacements from G&L here: [url="http://www.glguitars.com/shopping/shopdisplayproducts.asp?id=19&cat=Potentiometers"]http://www.glguitars.com/shopping/shopdisp...=Potentiometers[/url] Maybe a little far to go for a pot, but that's the best I could think of. More digging: [url="http://gb.mouser.com/ProductDetail/Alpha-Taiwan/RV16AF-20-15S1-C1M/?qs=sGAEpiMZZMtxdMMi52izylTGUjbYbj7qlxlLC4Rw6Io="]http://gb.mouser.com/ProductDetail/Alpha-T...j7qlxlLC4Rw6Io=[/url] Split shaft si vous preferez: [url="http://gb.mouser.com/ProductDetail/Alpha-Taiwan/RV16AF-20-15K-C1M/?qs=sGAEpiMZZMtxdMMi52izylTGUjbYbj7qwXco89NuBrs%3d"]http://gb.mouser.com/ProductDetail/Alpha-T...qwXco89NuBrs%3d[/url]

Are these EMGs with quick connect? I'd check the link between the two halves of the P pickup.

Tricks? I always seem to be photographed on stage either giving the audience evil death stares or looking like I'm about to soil myself. You'd think I do it on purpose for the camera... Seriously though, no tricks. That would involve multitasking, and I've only just managed to construct the macro in my head to cover having 2 hands doing different things at the same time, mostly in time with each other. Still some bugs in the program to iron out