bassbloke

I don't know for sure, but might you have some recourse through the county court? You have the guy's address, proof of shipping and evidence from him that he mucked about with the tuning. AFAIK, the county court judgement is based on likely probably rather than proof beyond all reasonable doubt. An e-mail from saying he'd 'experimented with some alternative tunings' plus a report from a luthier saying the neck is bowed because some cretin tuned it up 3 steps and mucked about with the trussrod.

If they're all 5 years younger than him, there's a good chance that any of their female fans are 5 years younger too. So, maybe he's onto a winner after all.

Numerous reasons. Stop bots, etc... from trawling his web content Stop people from copying his auction and using it for a fraudulent auction

I took my backup bass, a sunburst 1996 MIA JAzz Deluxe V to my good friend Dave at [url="http://www.insanarty.com"]www.insanarty.com[/url] for a respray. After a week or so it came back looking very different to its original 3 tone sunburst. [attachment=37837:Bass_010.JPG] So I now have a pair of very unique basses that complimengt each other nicely [attachment=37838:Bass_022.JPG]

Lessons? They'd make more of a difference to your playing than a new amp or bass.

[quote name='GreeneKing' post='671818' date='Dec 2 2009, 08:34 AM']The TC RH450 has a great sound, not at all thin and not at all 'puny' despite the 450 watts (its only a number). You probably need to try it. TalkBass have a long thread with overwhelming positive comment. Peter[/quote] what do you mean not at all puny despite the 450Watts??? Are we all playing 1000+ capacity venues or something?

If you really don't like the band, then move on. there's nothing more miserable than being in a band you don't like. But, if you do enjoy the band but don;t like being part of the trio that does every gig they're offered, then why don't you just join the drummer and guitarist in only participating in shows featuring the full line up?

The Peel is a good venue and they treat bands nicely, but if you 1) want to get paid 2) want to get asked back you need to put in the hours promoting yourselves and trying to get people down. It's not that hard to get to - it's a 10 min walk from Norbiton BR and there are buses from Wimbledon, Sutton, etc... that go past or stop very near the venue. It's not in the nicest part of town, but few venues are. Parking is easy too - just find a side street.

If venue are providing backline they I assume that they mean everything. If I hear that bands are sharing backline, I assume they only mean cabs and to be honest, I prefer it that way. I'm happy to share cab and if people are really stuck will reluctantly allow use of my head, but I do get the hump if people don't ask to borrow my gear. Finally, soundmen can be awfully presumptuous, but then they're focussed on making things as easy and smooth as possible and a shared backline is great for them.

I dug out a Behringer Ultra DI that I had somewhere and took a line out from the head into that. Problem solved. The temptation was there to get clever and get a tube DI, Sansamp, etc... but I'm glad the cheaper solution worked. Thanks for the advice everyone.

My amp died in soundcheck. Loud pop and then nothing. Luckily, the bass player in one of the other bands came to my rescue and let me use gis GK combo (and rather fantastic it sounded too). It ended up beng a costly repair to as the power supply board had blown, taking a few other components out too.

Inner Eden are supporting the mighty Ten Masked Men at the Gaff in Holloway. Admission £5 with a flyer.

I thought Effects send and return is usually after preamp it certainly was on my old Hartke HA7000 - I used it to bypass the preamp. The DI on mine has a pre or post EQ switch, but I think it still comes after the gain stage, hence the problem with the hot output when I crank the gain. I think the attenuator is the perfect solution, simple and effective and small enough for me not to forget to pack it. Thank you very much for that advice.

Here is my problem. I have a Tech soundsystems TVM head. It's a solid state head with passive EQ. I like to drive the gain stage quite hard because that's the sound I like (usually set to around 3 o'clock). I also boost both treble and bass EQ on the bass. It's a bit of a thuggish approach, but I like the sound and it certainly cuts. The issue is that the DI output is really high and frequently causes problems for soundmen. I can get it back down to an acceptable level by dropping the input gain and switching to active input, but that fundamentally alters the sound of the amp and I have to push the master volume. Would a line out to an external DI with level control solve my problem?

You may also have to adjust your playing style. even if you stick the bottom 4 strings of a 5 string set on your bass, you'll need to play slightly differently to ensure you have enough note definition. So, ease off a little, turn your amp up, play nearer the bridge and tweak the EQ a little - a little less bass and a little more mid to reduce some of the boominess, etc...

If you do Higher Ground prepare yourself for obvious RHCP comparisons. You also need to tune down a half step. If he wants to do funky and reggaie, then kill two birds with one stone and do Master Blaster instead. It has loads of potential fro you to mix it up a bit.

Great session player. It's just a shame that when compared to an absolutely blistering keyboard and guitar, the bas comes in a very poor third.

+1 You have to ask yourself why you want to use fingers. Is it because it looks cooler or because the song asks for it? As for how to build up finger speed and strength, I got into the habit of playing as close to the bridge as possible. The tension is high enough that it's hard work to get the speed and attack but you avoid the messiness of playing too near the bridge. You'll get nasty blisters and your fingers will hurt like hell, but once you've built up the callouses it gets much easier. There are occasions where you will really want to use a pick, maybe not for out and out speed, but for the different attack and muting options. Likewise, there are occasions where the warmth and extra control of fingers comes into its own.

[quote name='Xzantes' post='653696' date='Nov 13 2009, 03:27 PM']or actually you were on after us?... can't remeber one of the 2 lol![/quote] aha, so you were the guy witht he 7 string fretless monstrosity We were on after you. I don;t know if you got to hang for a few minutes after your set, but you'd have seen me blow the power onstage.

We've posted a couple of videos from a set we played at Bloodstock this year and I'd be very grateful for any feedback. I'm using my now repainted Jazz deluxe through the supplied Ampeg B5R and 810. Very nice.

There is actually quite a lot to differentiate a Mexican from a US deluxe jazz string spacing. You can adjust string spacing on a US deluxe which suits some people better. through body stringing. Does add a little more tension lighter tuners 22 fret neck - I certainly find the extra frets useful - difference between being able to hit a high E on the G string or not. Smaller body decent case If I were you, I'd hunt around for a decent 2nd hand US deluxe jazz and bung an after market upgraded preamp like a J Retro Deluxe or, my preamp of choice, an Audere JZ3D. You might even have enough left over to buy yourself a backup mexican or japanese Fender.

Only 1 item left... Anyone here reckon they can phone up and ask for a pleasure pump and keep a straight face?

[quote name='crez5150' post='644038' date='Nov 3 2009, 12:03 AM']Having been a long long time user of Tech SS/Tecamp products.... I can honestly say that their cabinets are pretty decent but their electronics are a bit hit and miss....... to say the least[/quote] +1