bassbloke

How's this for a possible deal?

One of these

[url="http://www.tech-soundsystems.com/eng/home/index.html"]http://www.tech-soundsystems.com/eng/home/index.html[/url]

Namely a tech soundsystem TVM 350

plus £150 for your Hughes and Kettner head

The tech will deliver around 300W into 8 ohms, is 2U and matches your cab, giving a nifty little combo

It has a passive EQ, loads of growl for a solid state head.

One point though, the compressor on this amp is useless so you would want to leave it off.

If you're talking about the Hughes & Kettner head, you also have to consider that the average punters knows less than half a dozen bass amp makes - Ashdown, Fender, Peavey and, at a stretch, Trace Elliot, Hartke and Ampeg. I own a Tech Soundsystems rig and hardly anyone has heard of therm.

So, a music shop will offer you a pittance for the simple reason that they'll probably struggle to sell it.

You could re-work some Republica, Sneaker Pimps and Portishead material to give it more of a driving straight rock feel. Could work well.

[quote name='Clarky' post='1054395' date='Dec 10 2010, 07:08 PM']Can I just add that the 'best' thickness of the pick and speed of playing will depend on how you pick. Guys who use strong forearm and wrist movements to pick from my observation tend to prefer thicker picks. I played in a fast metal band and a fast punk band but I get on much better with a flexible pick as I seem to use more finger and wrist movement when picking whereas a heavy gauge pick 'chokes' or jams on the strings with me.

I use Alien medium/ thin picks ( the glow in the dark ones with an Alien face on them ). I also like the jointed pick that Wayne mentioned above.

The only downside to a thin pick I have found is that as they heat up during a gig between your fingers they get softer and softer so I always have a fresh one in my back pocket just in case[/quote]

I opted for the old trick of slightly loosening a scratchplate screw and wedging a couple of spares in the gap.

Good post.

I started playing bass with a pick, switched to fingers partly because I got caught up in that whole 'proper bass players use fingerstyle' thing. I then had to start using a pick because of a nasty infection in my hand (which I still have, although its much much better).

1) If I'm playing downstrokes, I hit a lot harder because that's the effect I want. If I'm playing alternate picking, the trick is even attack on the upstroke and downstroke.

2) I use Dunlop 1mm nylon picks (black ones). I picked up some of the super grippy ones recently, but don't like them as much. They're stiff enough to produce a nice strong note, but the nylon material makes for a softer, less scratchy sound, which seems much more pronounced when using tortex picks. Theother bonus is that I use them on guitar too. Perfect.

3) The material I play is usually really fast - loads of triplets, fast 16th or even 32nd notes. To get the kind of clarity I need, I usually rest my right hand over the jazz pickup. A lot of players hold the pick really near the neck - that's fine if you want a softer sound, but you just don't get a nice clear note. If I'm playing a lot of cross string runs (alternate, hybrid or sweep picking) I'll find my hand creeping slightly forward for a more fluid sound and feel.

4) I use a hell of a lot of muting to give my picked lines more dynamics. For example, If I'm playing a nice fast pedalling riff on an open E or A, I'll mute the open string. Also, if I'm doubling fast double kick drum patterns, I need the extra control and clarity that I get from muted strings.

I think pick playing is an essential skill for any self respecting bass player. I've found that I'm a far better player for adapting my parts and playing to suit a different technique. I also find that effects such as overdrive, delay and chorus suit pickstyle more, whereas filter and synth effects just work better for fingerstyle, so another opportunity to adapt your playing.

I take it back

I found two bands through Formingbands. The website is fine. The problem is other musicians.

There's a fine line between amusing and irritating and, unfortunately, they cross it.

The best way to make a bass sound funkier ? Play fewer notes and more dynamics. Have you ever had a lesson from a proper bass guitar tutor?

[quote name='thinman' post='1035580' date='Nov 24 2010, 08:38 PM']So is it OK to use condoms or not?[/quote]

According to my mate, josef ratzinger, yes, but only if you bat for the opposite team.

[quote name='lee4' post='1036964' date='Nov 25 2010, 09:14 PM']Could do,especially as I work in Claygate!About 2 miles I think!If you are passing the timber merchant there,stick your head in for a cuppa.
I'm taking it to Dunsfold next week to (hopefully)get the rattle sorted.I really don't want to get shot of the rig as it sounds great,but if the head plays up again it'll have to go.[/quote]

Would do, but unfortunately, my work is in the opposite direction (Putney). Anyway, the offer stands. My circle of friends includes far too few bass players :-)

I have a backup head you could try out for a couple of weeks - to see if it's head or cab.

Markbass kit is Italian right? Say no more. My mate has owned 3 Alfa Romeos.

It's tough. Once you lose faith in your gear, you just want want shot of it, but on the face of it, your rig should be more than up to the task.

How's this for a proposal. I'm up the road (OK 20 miles) in Long Ditton. Bring up your rig and A/B against miner, which is a Tech rig from around 10 years ago - neo 4x10, 600W head. There may be some obvious issues that will become apparent.

I've used the same Fender deluxe jazz with the same gauge Fender Superbass strings (45, 65, 85, 100, 135) for donkeys years and in that time have tuned BEADG, AEADG, ADADG, GCGCF, ADGCF. All I need to do is adjust saddle height and adjust right hand technique a little (pick or fingerstyle) to compensate for the change in tension.

If you are going to be playing with strings tuned down 4 steps, best thing you can do to retain tension and definition is to play much nearer the bridge.

An excellent find Sir. Fascinating from both a musical and business perspective. I started watching it at work, but got funny looks, even though it was my lunch break. Will watch the rest tonight.

P.S. I used to find Steinbergers ugly and pointless. I now want one.

I owned a Fender HM Bass. The HM either stood for 'Heartfield Model', Heartfield being a company Fender acquired in the 80s or 'Heavy Metal' - the bass had a suitably metal red crackle finish, black headstock.

It had 3 jazz pickups with a 5 way switch, which I modded to give me a three way switch and push-pull on the tone, which gave me three pickup output.

Pickup arrangement was different to the one you describe - it had two jazz pickups in the usual positions and a third in between the two to give a kind of musicman-esque feel.

Anyway, to cut a long and boring story short, I didn't feel the third pickup gave me anything - the two rear pickups sounded like a musicman without the bottom end oomph and all three pickups sounded like a jazz with one of the pickups wired out of phase - all clicky and nasal.

The two tried and tested combinations of twin jazz pickups or precision and jazz do the job admirably.

Are you open to trades?

I have one of these that might be of interest

[quote name='icastle' post='1025911' date='Nov 16 2010, 02:33 PM']I'm going to bite this from a slightly different perspective.

Fender basses appeared in the 1950s and by the 1960s and 1970s had more or less dominated the market, yes there were Hofners, Gibsons and a few other high end marques about, but Fender was the leader.

Then the 1980s appeared, haircuts got weird and the popularity of white trousers went through the roof - everything was clean cut, fresh and modern - it was all very different from the previous decades.

Steinberger, Jaydee, Wal, Ibanez, Aria, Yamaha and a whole raft of smaller suppliers took the basic concept of a bass guitar and updated them to match the fashion of the time.[/quote]

+1. Take, for example, rock and metal bands. A lot of bands changed their image for the 80s and in came spandex and a whole host of other fashion disasters. A Fender Precision or Jazz just looked out of place. Even Iron Maiden dropped Fenders in favour of spikier instruments with louder paintjobs.

The irony is that a lot of the instruments - BC Rich Gunslingers, ESPs, Ibanez, Jackson and Charvel were just modern takes on the jazz and precision with more sculpted bodies and pointier headstocks.

[quote name='RAY AGAINST THE MACHINE' post='1026334' date='Nov 16 2010, 08:34 PM']Not sure if I really need all these basses really. The bass I use the most seems to be the Washburn Status. (followed closely by the hamburger bass).
I wanna keep the JD bass,and the fretless.I know that times are hard,and I don't wanna sell my Tele bass for less than I paid for it. (alot)
And to be brutally honest ,altho' it's the nearest 'proper' bass sound i m h o , I'm frightened to gig with it. I love the look of the Taxi bass, but haven't used it
in rehearsals yet. As for the 5 string? using it at home is fine ,but I think I'd be too nervous in a band situation.As for the 6 and 8 strings? They've been ignored.

Not sure whether to sell most of 'em ,as I 'm almost certain my job is going around xmas. (Hate the place anyway)
On the other side of the coin, I do like the look of basses on the wall etc. I was thinking of getting miniatures instead.

Sorry if it sounds a bit miserable , but I'm not the miserable type Maybe I should start over again.

Any ideas?[/quote]

Sell everything bar 2 basses, one rig and whatever effects/leads/outboard gear you need as a bare minimum. It's incredibly liberating.

Mid Week slot? check
Charity Gig? check
Loads of bands? Check
Very short set? Check

Your 'nightmare gig' detector should be on overdrive. It has all of the classic hallmarks of a total disaster and, what's worse, it being a charity gig means you can't kick off about the poor planning as it will be regarded as not in the spirit of things.

Realistically, how much of a difference would your presence make to the gig? Would they make that much more money if you turned up and played three songs or another band played for another 15-20 minutes - more in fact as you wouldn't waste time with the changeovers.

Why don't you all pledge £15 to the charity and send that instead and settle for a nice evening in.

Dire.

Started the year well with a few local gigs with respectable turnout. Then one big gig at the O2 Academy Islington, after which our singer left. Got a new singer, did one reasonably big gig at the Scala, one crap local gig and new singer left and band decided to split up.

The gigs where we got a decent turnout, we really put in the effort to sell advance tickets. That is the only way you can guarantee numbers.

[quote name='njoha' post='1006736' date='Oct 30 2010, 08:49 PM']The Neutronics stripped down set @ St Pancras intl - The Station Sessions


[/quote]

Your stage outfit is one of the coolest things I have ever seen.

I would agree with the comments suggesting you invest in some vintage les pauls. Twice in the past few years I've been in a music shop and seen a middle aged father and son walk into the shop, ask to have a quick play on a very expensive Les Paul and, within 5 minutes, whip out a credit card and buy it, without haggling on price or extras.

I have a 8 Ohm Tech Soundsystems 4 x 10. However, to quote the late Charlton Heston, you'll have to prise it from my cold dead hands!

There are obvious convenience benefits to having an active preamp in your bass, plus active circuit and active pickups will lead to an improved signal to noise ratio when using very long cables.

However if you are simply looking for the active sound, then an outboard preamp will work well and is a good way of obtaining some classic active circuit sounds without hacking up a bass - especially if the control cavity is tight.

John East, Sadowsky, MXR all produce outboard preamps. In fact, any electronics builder will be able to fit the preamp of your choice into an external casing.

It's a criminal offence to write a cheque knowing that it will bounce. The fact he has written you a cheque is proof of intent to pay. If it were me, I'd send them a letter via recorded delivery asking for the outstanding balance plus bank charges for processing a bounced cheque or you'll initiate county court proceedings.

He's an idiot. If he was serious about ripping you off he should have just paid you half and said he'd give you the rest of the cash next week.

Of course, chances are he's financially screwed anyway and yours will be one of numerous debtors letters landing on his doormat. Next time you drive past the pub it'll probably be boarded up.