Ed_S

[quote name='Lozz196' timestamp='1350377561' post='1837896'] Yep, weight/carrying/transport issues aside, I`m yet to play through a smaller setup that has the same "feel" and depth of sound as standing in front of an Ampeg all-valve amp, connected up to an Ampeg 810. And I don`t mean volume, as I don`t run amps particularly loud. [/quote] Shame more people don't realise that last bit. At the weekend I went to a gig in a moderately sized venue (couple of hundred capacity, maybe) and ended up getting blasted by an Ampeg SVT whatever-pro (5, I think) and two 8x10 fridges, one either side of the drummer. There was no such restraint in terms of volume, and whilst the Precision / Ampeg was pretty awesome to behold for the first few bars, it was ultimately just ridiculous overkill and ruined the gig. I think what I'm saying is that I'm all for appropriate.

I don't think it's unusual; I went from 5s to 4s a couple of years ago and have no regrets. I wanted a lighter, shorter and more comfortably shaped bass than the ones I was wielding, so got myself a 4-string Precision and luckily, in doing so found 'my bass'. I still have one 5-string but I've never been tempted to go back to using it live; I keep it to play for my own entertainment at home and just in case I need it for recording or a very prescriptive dep gig.

[quote name='Panamonte' timestamp='1350109452' post='1834599'] but bear in mind that it's active without an active/passive switch which may or may not be what you're after. No harm in trying one though :-) [/quote] Agreed.. I play P's just about exclusively and as much as I tried to love my American Deluxe, it just wasn't right; it was too complex to actually be a proper P, didn't sound like a proper P, and the preamp was pretty bad compared to others I've owned in the past so what it did sound like wasn't all that great or versatile. I put a glockenklang preamp in it which sounded better and had a passive switch, and that helped but it still looked wrong with too many knobs and switches. In the end I sold it (taking a £700 drop in the process because you can't shift 'em) and got an American Standard V which, incidentally, if you don't like wide necks, you should avoid like the plague... But I love it Sorry.. rambled a bit there.. Back on topic, if you want a P with a slim neck and a touch more versatility and visual interest without being stupidly complex, I can thoroughly recommend a Blacktop Jazz.

After a very speedy sale and a couple of weeks in thoroughly amicable talks to arrange the fine details, Mark travelled all the way up to Sheffield today to buy my 410 cab. He's a true gent, and as such took the long journey and my somewhat interesting directions in his stride and arrived with a smile. He even reminded me that I might actually want paying, which I admit, had momentarily slipped my mind! I'd ask how it sounds with those two big ol' Ashdowns belting out, but I think I'll probably hear it from here.... Thanks, Mark - it's been a pleasure to do business! Ed

I refuse to play in anything that's not a standard tuning, but which one it is makes no odds to me; as long as the intervals between strings are 'normal' and it's not so low that the strings are floppy, I can play. I can't think in 'drop-x' (just one string dropped) etc because that's just "out of tune" to my non-reading, non-theory-knowing brain! My main basses are tuned down half a step because that's what the guitarists in my band use and our singer is comfortable with, so its easier to join in and all have the same lowest note, but I don't bother to tune back up half a step to play along with stuff in 'standard' when playing at home. Likewise, my 5 is in 'standard' and I wouldn't bother tuning that down.

Most of my basses are down half a step (but used to be down a full step) and one is in C standard, so I know what you mean about cheap tuners not registering on the low notes. I find they're usually better if you have the option to take them off chromatic mode and tell them to listen for bass with a specific number of flats, but even then some don't work. Obviously the more professional pedal and rack tuners do their job, but in terms of small, lightweight and cheap, the only one I've never had any problems with is the Boss TU-80 tuner/metronome.

I opened up my classic series jap precision last weekend to find that there was no screening at all.. no foil on the guard, not even the black conductive paint that gets everywhere. Dunno if that's a usual find or not... but I digress.. I lined the cavities using some aluminium tape I had left over from the last guard I fitted, and made a 'tube' out of tin foil (wrapped it round a screwdriver) to go between the cavities, which the pickup wires went down just nicely. Continuity checks out and it's quiet, so... maybe an option for you?

The done thing on the originals circuit round here is either the venue to provide the bass rig, or the headliner to leave theirs on stage all night, so when we're not headlining I regularly do exactly what you're suggesting and it works well. I have a very simple pedalboard set up with my wireless, tuner, compressor and sansamp, and plug into either the front-end, fx-return or power-amp-in of whatever I'm borrowing. The Sansamp makes it easy by having switches for both the jack and xlr outputs to select between line or instrument level on each, so you're rarely (read: never) stuck for a way to connect in, and setup takes all of about 5 minutes including tweaking the sound to compensate for the difference in rig.

I've had my 2012 MIA Standard Precision V a couple of weeks now, and am happy to report that the B is absolutely fine. To say that it's a 4 with an extra string added rather than a specifically altered design would be pretty fair and accurate, but it works for me... I like it!

A while ago, I had a less than perfect time with a set of D'Addario Half Rounds, and duly asked on BC if anybody else had similar experiences to share. Nobody seemed to have had the same issues so I was ready to put it down to a bad pack and move on; I'd bought them as an experiment along with some Rotosound Solo Bass (pressure-wound) and ascertained that neither were really my idea of fun irrespective of possible defects. Soon after, however, a guy called Don from D'Addario PM'd me to say that what I'd experienced certainly wasn't the norm, and offer me a free replacement set or alternatively something different to try. Given that at no point had I actually contacted the company directly to complain, I thought that was a very attentive gesture. Anyway, I figured that since I was still feeling experimental, I'd go for something different and accepted a set of 45-105 EXP Reds (EXPR165) which, for the uninitiated, are EXP coated, copper-plated steels. The strings arrived the next day and went on my 2008 MIA Standard P for a good work-out. As they're not something I've ever seen in the shops (or even online that often) and have never seen much discussion surrounding, I said that good or bad, I'd write a few words in review, so here goes... Straight out of the packet I have to say they're very aesthetically pleasing strings and against a dark rosewood board the bright copper looks great. I don't know how long they'll last that way before tarnishing but the EXP coating should help on this front. Fitting went as smoothly as normal, but my one observation here is that the 'E' string is right on the first stage of the taper as it sits in the nut, so rather than being its full thickness at this point, it's probably about the full thickness of the 'A'. I realise that this wouldn't be the case had I top-loaded them rather than going through the body, but given that it's the stock option on the USA Precision (which isn't exactly an uncommon instrument) I'd have expected the extra 5mm of full thickness in the string required to get over the nut before tapering away to the peg. Anyhow, I don't think it's making any appreciable difference to feel (though maybe it would if I played with a very low action) or sound, so really just an observation.. on with the playing side of things... For the most part, these strings are pleasantly familiar; it's just like playing a similarly sized set of ProSteels, the only difference being the EXP coating which I guess either bothers you or it doesn't. I'm not a huge fan of coated strings, but I can fully appreciate why it's a desirable feature of this particular product, and in its favour I'm only getting that slightly 'sticky' feel (that I find with all coated strings irrespective of manufacturer) on my plucking fingers, and then only really noticing it for as long as it takes to get into playing the music, whereupon I stop caring! The blurb on the packaging says that the copper coating on the wrap wire "imparts a more 'acoustic' tone", and whilst initially skeptical, I can really hear what they're on about. I've had a number of acoustic basses over the years, the most recent being a Fender Kingman, and have always ended up moving them on for lack of practicality; my main gripe being that for their relative size and fragility in transport and the inherent difficulty of using acoustic instruments in loud rock performances, the difference in amplified tone has always been too subtle to justify. Well, that subtle difference in tone is right there on the P with the Reds fitted, which to my mind makes these strings a great way of showing willing (complete with visual cue) without putting yourself to all the trouble of using a real acoustic in a live setting. Even if you were using an acoustic as your main bass and wanted to keep an electric at the back of the stage as a backup, I could see these being a worthwhile addition. So in sum, I'm suitably impressed, both with Don at D'Addario for his attention to customer service, and with EXP Reds for their subtle contribution to my pseudo-acoustic bass exploits.

[quote name='Lozz196' timestamp='1348300216' post='1811968'] +1. I`ve been knocked out by how good my Markbass 104HR is. I can get that "felt as well as heard" sound, with virtually flat eq, just VPF on the amp on full. My previous faves have been Ampeg, but I just can`t lift them any more, just a bit too heavy for my back now, and Schroeder. Schros are amazing, don`t sound too ncie on their own, a bit scratchy/nasally, but sit so well in the mix, plus they sound the same wherever you stand (aside from maybe behind them). That said, the Markbass cab takes it for me. It sounds great both on its own, and in the mix, and the tweeter, whilst adding definition to the notes, is not clicky, and if you like a bassy sound, but without that boom that sometimes accompanies this, this cab does it fantastically. Never thought a brand would take my preference over Ampeg, but Markbass has. [/quote] The 104HR is a great cab. I've seen it take some stick from the 104HF fans, but having tried both I actively prefer my HR for that really controlled bottom end that, as you say, stops it being 'boomy'.

Perhaps a bit late to the party, but as I don't think it's been mentioned yet, I can thoroughly recommend the Digitech 'GSP 1101' for rock and metal tones. Our lead guitarist uses his with the matching 'Control 2' foot controller, and whilst he'd be the first to admit that the factory default patches are fairly rough and it took him a while to learn how to program it and get the patches sounding right, they're now very believable in isolation and to all intents and purposes indistinguishable from a real amp in a mix.

The one that came with mine is packaged as Fender part number '0076157000' and measures 7/64" imperial. Quite a nifty ball-ended affair it is, too!

[quote name='Doddy' timestamp='1347734776' post='1804506'] What does IDST mean? [/quote] Think it's 'if destroyed, still true'. I've had a Squier VM P for a while and find it completely adequate for the purpose intended; I gig it and it performs just fine. I'm really not sure about people saying there's no difference between them and MIM/MIA Fenders, but all the same, totally agree that those on tighter budgets or just starting out have it really good with instruments like the VMs and CVs out there. My gf tagged along with me to the music shop yesterday when I was picking up my latest acquisition, and she ended up getting herself a Squier VM '77 Jazz and a Rumble 15 as after a previous false-start, she wants to give bass a proper go. Having checked it over and demoed it for her, the VM J is a very nice bass... actually marginally better than my VM P because the Duncan Designed J pickups sound like they should, whereas I had to swap the P pickup for something better.

[quote name='Happy Jack' timestamp='1347348578' post='1799527'] [url="http://www.soundindustry.co.uk/acatalog/W-Audio-1300W-1U-Amplifier-Horizon1300-AMP44.html"]http://www.soundindustry.co.uk/acatalog/W-Audio-1300W-1U-Amplifier-Horizon1300-AMP44.html[/url] I use the 1100W version. In terms of bangs per buck, it's hard to beat. [/quote] Heh, my 600W Horizon blew up on Saturday - was using it to power a pair of stage monitors at fairly tame volumes and it just started annihilating fuses. Not quite the 'bang' I was after for my buck :-)

I've got two of the Crown XLS 1500s that I use for PA duties these days, and they are indeed light and powerful. I actually bought the first to use in a rig with an RBI and my S12 and it sounded good; I certainly don't think you'd be disappointed.

My 2008 USA Standard and (before I got rid of it a couple of weeks ago) 2010 USA Deluxe both have/had the same thing going on. I dare say that when my 2012 USA Standard V that's replacing the Deluxe finally arrives, it'll look the same. I've always just taken it to be due to the thickness of the finish.

Rotosound 'Solo Bass 55' steel pressurewound strings have brass ball-ends, green silk binding (at both ends, mind) and come in a 45-130 set.

[quote name='Mr. Foxen' timestamp='1346107473' post='1785498'] Barefaced super 12 is a 2x12 that should basically totally do you for the purpose. It will go a bit further than a 4x10 and is comically light. [/quote] Yup - I currently have a Markbass 104HR and a Barefaced S12, and whilst I do still like and use the Markbass, it's hard not to advocate the S12 as a worthy replacement. It only drops about 7Kg from what you're used to shifting, but at the same time the 'tall thin' shape means it's a much more comfortable lift and a lot easier to get through doors etc. plus the built-in back wheels are nifty for when you're inside. The one minor is that the textured finish is quite sharp in places and I've actually managed to skin my knuckles on mine before, but you soon learn not to do it, and once you've invested in a dust cover it's a lot less dangerous!

[quote name='Dingus' timestamp='1345553396' post='1778731'] I could be wrong about this, but I think you will find that there haven't been any upgrades to the spec. of the five string American Standard Precision Bass for 2012. Where as the four string Am St. basses have been given Custom Shop pickups, the five string Precision and Jazz pickups remain unchanged , presumably because the Custom Shop don't make as standard a five string P or J pickup. So I presume the only upgrade has been to the price, unfortunately. I don't want to rain on anybodys parade, I just thought it was worth mentioning in case someone had presumed they would be getting new pickups . It still looks and sounds like a lovely bass to me, regardless. [/quote] You are indeed right! I didn't actually check (on the grounds of not being all that fussed) so just assumed that the marketing applied No major... I like the pickup in my 2008-ish Am Std. 4, so I'm sure the 5 will be just fine. I'll still report back when it arrives!

I bought one as a 'cheap, but not too cheap' testbed for C,F,Bb,Eb tuning which my band uses for a few songs that our singer just can't hit in our usual half-step-down. The body and neck are well made, the frets are well fitted and dressed and the rosewood board on mine is quite nicely figured, but the finishing of the back of the neck is a bit 'rough and ready' and I wasn't blown away by the Duncan Designed pickup as I felt it lacked definition compared to the stock hardware of my 2009 MIMs. Likewise, I thought the tuning machines felt a bit flimsy, but they did the job just fine so I left them to it. In any case, the intention was always just to see if the thicker strings and different tuning worked, and if it did, to get another MIM, do the same to it and sell on the VM, but in the event it became clear that it was good enough to be a keeper, so I got it a Quarter-Pounder and a BadAss II (the latter being purely aesthetic), and it's still part of the family today. I don't agree that they're the same quality as a 2009-onwards MIM because the neck finishing and the hardware just aren't up to that standard, but they're certainly 'good enough', especially for the money, and particularly if you plan to make a few hardware changes of your own.

I've literally just ordered one of the new 2012 upgrade ones today... I'll let you know what I think when it arrives!

It's part of the reason why after briefly toying with the idea of selling it, I opted to keep my old SWR Workingman's 4004 - everything else I own has a fan in it, which is, as you so rightly say, very annoying when playing quietly at home.