brensabre79

You could try [url="http://allparts.uk.com/"]allparts[/url] or [url="http://www.wdmusic.co.uk/index.asp"]WDMusic[/url] they have a huge range...

[quote name='Jacqueslemac' timestamp='1359380181' post='1953773'] My Warwicks are my bass of choice, but I swap to the Jazz every now and again and - infuriatingly - I then get compliments about the tone (last Saturday's gig was one such time)![/quote] It's almost like people are trying to tell you something isn't it? Seriously though, I see lots and lots of bass players every year buying a Warwick bass prior to arriving at the Music Institute nearby for their 3 year bass playing course. As they progress through the course, usually by the end of year 1, nearly all of them sell their Warwicks and buy the bass that they will keep and use in their professional careers... the same bass that professional musicians have been using for years and years... the same bass that is on more records than the others combined (except for the Precision)... yes the Fender Jazz Bass. Is it better? well, no but the thing is, it works, every engineer in the land knows what to do with it and its the industry standard for a reason... it works. [quote name='Jacqueslemac' timestamp='1359380181' post='1953773'] Any tips on how to make a Corvette $$ sound like a Jazz?[/quote] Sell it, buy a Jazz, never look back

I've experimented a lot with balanced tension sets - mostly custom winds. The traditional compromise of string gauges is one of both tension (compliance really) and volume. I found that those sets that felt the most even in terms of compliance were counteracted by the fact that some strings were quieter than others - meaning you had to play them harder to get even volume! Obviously if you have a fancy-pants bass with individual pole adjustment (or a P-Bass) you can work this out to some degree, but otherwise (e.g.Jazz Bass, Musicman) you're left with the strings being uneven anyway. I'd be interested to see if these balanced tension sets are also balanced in volume... The aim is to be able to play consistently across all the strings with the same feel of compliance from the string and the same volume out of the Jack socket!

I've had a look for the article I found that modified this circuit (its basically the Fender Greasebucket circuit) for Bass guitar but I can't find it! I don't have the bass I did this to any more either but I think what Protium has done sounds about right. Basically you don't need as much treble preserved as with a guitar so its about changing the resistor and capacitor to a lower value to lessen the effect. I did find that Fender use the same cirvuit in bass and guitar though so you probably can't go too wrong with that - you could experiment with the values though to see what you like. As I recall I bought lots of capacitors and resistors and tried a few different ones out.

[quote name='Roland Rock' timestamp='1359130705' post='1950415'] [/quote] Hmmm 160cm driver, 3000w down to 8Hz, might need two...

[quote name='Happy Jack' timestamp='1358980753' post='1948207'] [url="http://moneyterms.co.uk/veblen-good/"]http://moneyterms.co.uk/veblen-good/[/url] [/quote] Could well be true in this case, the original listing had no bids, the current one at £100 more has 2 offers. I wonder if it will actually sell for the original price with the buyer thinking they have got themselves a bargain?

Welcome Tim! Enjoy

[quote name='BassYerbouti' timestamp='1358282591' post='1936394'] when the time comes to replace the valves. [/quote] Also, preamp valves last for years and years, unlike some power amp valves, so you probably won't NEED to change, but you might like to for a different sound. The 12ax7s in these are pretty cheap anyway.

Welcome to Basschat Brian, you might get a less suspicious response if you introduce yourself on the Introductions forum Oh and don't put a "pickbag" in your avatar, but a picture says a thousand words about yourself too! To the OP I prefer just not letting go of the pick. I used to lose them every couple of songs until someone pointed out I was holding it wrong, now I play with very smooth picks (the black Gibson kind) and I never drop them - I can also trem pick on a bass now too - the right technique is your friend, the hundreds of products that compensate for poor technique are not.

I thought the whole thing about the Badass was the alloy in the first place, a massive trade secret I was told. My Badass came with the stickers on a few years ago, but underneath it was the same as yours. I'm not sure about the grooved saddles having a better tone. Maybe because with the other kind you have to cut your own grooves, if you cock this up the string might not make contact properly...

Yes it works, i've done it on my passive Jazz.

Barefaced Super12T, no contest

I can't believe this is news to anyone. Its been the same for years! As a Manchester based band we had to do our fair share of sh*tty gigs in London to get in front of 'the industry' it was the same racket back then. So called (and usually self appointed) Promoters get you in on a ticket deal or something with the promise of major A&R scouts being there on the night. We'd spend 4 hours in a van on a Friday afternoon getting to the "Tight Fisted Violinist" or wherever because some gitbag at S&M Records had heard our demo and asked if we were playing in London.. We'd play for 20 minutes to a nearly empty room of indifference (because they were there for their mates band not yours), no sign of the A&R, then pack up and drive back for 4 hours so we could all go and work our saturday jobs. Next month we'd do it all again. It's been this way since before most of us were born and will continue as long as there are enough bands stupid enough. In my next band we refused to go to London, we told the gitbag at S&M that if he wanted his new BMW this year he'd better get up to Manchester with his expense card or he'd miss out. Our mates all turned up (it was free) and we played a good set to an appreciative crowd. No promoters involved. THAT gig got us signed.

[quote name='lettsguitars' timestamp='1358962942' post='1947774'] enter the wood very slowly. [/quote] as the actress said to the bishop...

Like [url="http://www.ebay.co.uk/sch/leahface2/m.html?_nkw=&_armrs=1&_from=&_ipg=&_trksid=p3686"]this[/url]... does that work?

[quote name='Nibody' timestamp='1358875423' post='1946412'] You'd have to be careful with that one as I'm sure our friend John would read that as you "facilitating the sale". I dont think I'd want to be the one to see who blinked first. [/quote] Yeah, but if its a PM nobody can see what you're saying so John can blink all he likes. If you post a faker up here, its easy to see who the seller is while the auction is active, maybe post a link to the seller instead of the item, so if the item is removed, no problem... That way, Johnny gets to keep his patent intact by pursuing the seller of the inferior knock-off, and we don't have 103 pages of dead links

lip and spur bit is what comes in pretty much any multi-bit drill set as a wood bit I think, its got a spike in the middle. So a trip to Wickes, B&Q or your favourite local hardware store will do the trick...

I used to have a Sansamp (and a few other pedals) until i got the Zoom B3. Does that answer your question? Also, B3 is great for Recording, Practicing (built in drum machine too!) and gigging. I think it has a GK modelling amp in there too so add that to your small combo of choice and you'll be away

ditto, you pay for a guaranteed standard of quality in my opinion. I've got a couple of cheapo basses that are amazingly good (keepers). I've had many that were not!

Line 6 have a great little 1x10 combo with amp models built in. i forget the model but my Dad has one and he uses it alot both at home and for big-band gigs so its pretty versatile!

I've got one, its a great little amp, but my guitar did feedback in a most unpleasant way when I used it at a gig (it was cranked right up though) I also have the bass one, great for small acoustic gigs (as I don't have an acoustic bass!). You can't really go wrong with them for busking and small quiet gigs.

Check out [url="http://www.noizezz.com/eng/"]Noizezz[/url] - they are made by the same people as the molded ones, but they are not molded. Go for the green ones!

[quote name='gjones' timestamp='1358449546' post='1939487'] 'You're only as good as your drummer' - Me [/quote] And also Ginger Baker "A band's only as good as its drummer... a good band, with a mediocre drummer, is a mediocre band"

Most of my favourite bass lines are the pedal type (no not a moogerfooger) the ones where the bass holds down one note all the way through whilst the chords shift around above. Without the pedal the songs are wishy washy, the bass determines the harmonic structure of everything above it. "The Whole of the Moon" "Wild Wood" "Ghetto life" "Midlife Crisis" etc. etc. all work because the bass player is holding down one note. And I absolutely love the feeling I get when my one note changes personality throughout the song! Also, if its an open string I get to have a drink while everyone else is working hard

I considered doing something like this a while back, not with a Ric-o-sound, but with one rig, a small mixing desk and an output from each pickup. The idea being that with a tone control for each pickup I could get a real twang out of the BPU and a rolled off thud from the NPU at the same time. With a passive bass this just can't be done as with both pickups on rolling off one tone control removes the treble from both pickups. In the end I went active, with two EMG BTC preamps replacing the tone controls. Eventually though I just bought a proper bass, with a bolt on neck and everything, and found there was no need for such complexity