Marshy

Andy, you've been to all the shops in Cambridge then and, as you say, bass gear you'd want to buy is a bit thin on the ground. I would add, though, that all three shops are pretty good in their own way, if you're after something that's in their mainstream. Bass just doesn't seem to be. Nick: smooth move, I see what you did there

Here's three pics of my modest collection. First up is my first "real" bass: a Bass Collection II DB43E (I still remember the goddam model!). This must be over 15 years old now (which seems like a lot to me) and was one of the last models Bass Collection did before going pop in the early 90s. Sat unused for some time while I flirted with another mistress (MM Stingray V) and now I'm back to the BC. With a setup and some lighter strings, it's quite nice [attachment=11772:BCfront.jpg.jpg] Then there's the workhorse. Playing in an acoustic singer/songwriter style of band, fretless fits so very well. Picked this Warwick Corvette up in the US for about 300 quid a year or so back. Had to leave another bass over there with a friend to get this one home. Well worth it: again, a good setup has worked wonders. It might only be a passive bass, but the inherent tone is great in the first place. [attachment=11773:WarwickFront.jpg.jpg] Lastly: the most expensive thing I've bought that isn't a house, car or Apple laptop: an NS Bass Cello. My arco sucks, but played upright, this thing is a hoot. Recommended if two grand's burning a hole in your pocket. [attachment=11774:BassCelloFront.jpg.jpg] I should grab some pics of my new preferred amp solution - later, perhaps. Ashdown Superfly + 2x8 cab. SUCH a welcome change over 2x10s or bigger. Back problems last year convinced me to scale things down... Anyway- that'll do for now. --Chris

Cara Dillon, "Sweet Liberty" Karine Polwart, "This Earthly Spell" I'm a sucker for good folk. These albums have the slowest, most non-technical basslines going. But FEEL by the bucketload. Marvellous. I've been annoying the neighbours with it

Update: I visited Barry & the Bass Centre in person today (at the guitar show) to try and resolve my commission sale situation. To be fair, Barry was very apologetic, didn't dodge the issue, and within short order I had the agreed sale price for my Yamaha bass in cash (plus a couple of sets of strings). So, while I shouldn't have had the issues I did, they are now resolved satisfactorily. --Chris

This was my first trip to the LGS, wow - what a lot of kit in one place. Ashdown were very helpful with a query I had about my Superfly head, and most places seemed generally keen to natter. But what berk thought that using the next hall along for the acoustic instruments section was a good plan? Man, that was dumb. Next year, the acoustic bit needs to be on the opposite side of the central aisle. And I now wish I'd tried that Enfield fretless - I too thought it looked very interesting. I did try three grand's worth of Warwick 8 string - *that* was an interesting beastie. Wanted one on the spot, until I realised I had no actual use for it. 8 string fretted bass in acoustic singer/songwriter band... doesn't quite work, does it? Hey ho. One day I'll get into that kicking rock band... --Chris

Rehearse until you're sick of it. Then rehearse some more again. Perhaps a bit more after that. Listening back to stuff in the control room is a revelation if you've never recorded before, and if you're not on top of your game collectively, it can be a revelation in the wrong way. Been there, pondered giving up on the spot. In my (admittedly limited) experience, the two bass flaws that stick out the most in this situation are timing and volume/levels. It's not all bad news though: being well rehearsed will fix the timing, and there'll be some compression going on in the production phase which will sort out small level issues. Don't be surprised how long things can take. It's very easy to burn huge amounts of time in studio situations even when you don't think you're being [i]that[/i] much of a perfectionist. Be open to overdubs/fixes/recording in sections, and so on. This may be the only way to Get Things Done In Time. Once you get past take six of a song you're trying to do as a one-take-wonder, it's time to park it and do something else, 'cos it ain't gonna happen in take seven. I remember we did stuff both ways: some one take wonders, some patchwork quilts. I was there, and I don't know where the edits are. Is it cheating? I dunno Disclaimer: all IMHO, based on my experiences. Other experiences may vary. No guarantees expressed or implied. Everything else said in this thread is good too, obviously. --Chris

The website is all optimistic about this, but does anyone who has experience of this show know if I'm likely to get a ticket if I turn up first thing on Sunday? Wasn't planning to go, but it seems like a good way to catch up with some folk I haven't spoken with for a while. Cheers, --Chris

Thanks folks... I see I'm not the only one burning the midnight oil then...

+1 for the Mag 210 - I had one of these with a MAG-250 head (I think) and rather liked it. Sold both 'cos I put my back out last year and didn't want to risk a repeat due to insanely heavy kit. Used just that cab and head in some quite big spaces, and the octaver was an evil (in a good way) piece of kit. Only minor downside was that it didn't really sing until cranked up a bit, so not a lounge rig I would say...

Cheers kiwi... At least it was the modestly-used Yamaha that sold (worth a modest three figures) not the utterly mint-condition Stringray (probably just in 4...) I'd be very Mr. Unreasonable were it that way around. --Chris (looking for a silver lining somewhere...)

Thought I'd pop my head through the door here at last. Registered ages ago, then work took over my life for "a while". Still have broken free of that at long last. So "hi", I'm Chris and I'm another fretless pervert Seriously, started playing in the late 80s and spent most of the years since then being vaguely crap until I discovered that I could sorta hack fretless. Lined fretless, mostly... training wheels... Then in the early 00's I got lucky and found a band in which I had a "voice" and haven't looked back. ([url="http://myspace.com/stryngs"]Stryngs on Myspace[/url] FWIW) Of course, that triggered the gear acquisition poverty slide (GAPS). Pictures when I can find 'em, but GAPS has resulted in the following bass pr0n:- [list] [*]Jap Squier Precision (converted to fretless by Bill Puplett, now Oasis' guitar tech) [*]Bass Collection II DB43E (hardly any of these exist, think they were made shortly before BC went bang in the early 90s. Still love it to this day.) [*]Warwick Corvette 4 string fretless (sh1t! No lines!) [*]Yamaha TRB-1005F (sold, er, probably. I'm told.) [*]Stingray 5 fretted (Utterly splendid once I set it up properly. Sadly, doesn't suit the music I play. But lovely. But not for me. But... But... Arrgh...) [*]Dean Acoustic Fretless (for messing around in the sun) [*]NS Bass Cello (gibber... possibly the sexiest thing on earth. Shame my arco technique sucks) [*]Old old old Trace 715 combo. [*]New new new Ashdown Superfly amp and 2x8 cab. (I can lift all my bass gear at once without slipping a disc!) [*]Bass Pod XT Live. [/list] How about recording pr0n... does that count too? I'm thinking it does, mainly due to the insane LED count on the front of the MOTU896HD gathering dust in my spare room... Then there's the f*** off Macbook pro to run Logic. And the ADAT interface. This isn't a very good introduction is it? Although, having thought about it, it's a little clearer why I don't have as much cash as I think I should... This is a support group, right? --Chris