brensabre79

[quote name='JTUK' timestamp='1333633439' post='1604576'] Tbh, you can't really check out what credentials people might purport to have or not when spouting the speil...so don't worry about it. [/quote] True, although there's not really much anyone can say on this thread is there JT? unless it's backed up with a diploma in identifying the best bass amp for the job!

[quote name='Mcgiver69' timestamp='1333531719' post='1602855'] I think you're refering to Bob which was a tricky B@sst#!@!! he used to aggree a fee and then pay you whatever he thought was appropiate. That was just a recent phenomenom only present when the pub started going downhill. I've been drinking there for the last 9 years and I never saw a fight until recently. The last good landlord was Phil, not the smoothest of guys but he loved live music and he is a bassplayer too. BTW guys the Brewers Arms and the Cricketers are trying to take the KH place now. You can go around and drop a card if you're looking for bookings. [/quote] Yeah that sounds about right. To be honest we enjoyed playing there and there was never any trouble when we were there, except for the landlord. Thanks, will check out the Brewers and the Cricketers. Are you gigging in the area too? whats your band...?

I used to have a tweeter box that i used with my old Acoustic 1x18" 4 piezo tweeters in it. It was 70s technology though, and not really a great solution, not sure if these are still around anyway. Like Bill says mid range would probably be better. I wouldn't go hacking up your Ashdown cabs either. Your best option would be to look at getting a new cab that better suits your needs to be honest - perhaps one that uses the Eminence Neo drivers plus a midrange and tweeter if you need it. Or if you're brave you could look at building something that uses the Eminence drivers you have, a crossover and a tweeter. You'll need a cabinet design that suits the speakers though or you'll be in a world of nastiness!

[quote name='AMPEG' timestamp='1333547077' post='1603314'] My Orange cab is 600 watt 8 Ohm cab surely the amp should put out the full 600 watts but the red clip light was on virtually throughout the gig [/quote] Yes but the shuttle is 4 ohm not 8 so you're already getting significantly less power. Your Orange cab may not be terribly efficient either - i.e. needing more power to drive it. The watts on a Cab are just there to say how much power they can ideally take from an amp. So your Shuttle 6 will be giving your cab about 300 - 400w MAX with the clip light coming on. The clip light is OK if it just flashes occasionally, but if its constantly on you're probably going to damage something (Amp, Speaker, Ears!) If its on constantly you're also not getting any louder - its limiting. Have a look at [url="http://barefacedbass.com/technical-information/understanding-power-handling.htm"]barefaced[/url] - there are some articles in there that explain all this far better than i could!

I think a lot of people use compression without realising it. Most amps will compress if driven, even if the preamp only is driven, many refer to it as the sweet spot on the gain control, just before it starts distorting... Also, many amps have a limiter. Part of the 'Ampeg' sound that many people crave involves a driven preamp (compression) as well as a power amp limiter (extreme compression). At least with a dedicated compressor you get more control over the attack and amount of compression. Anyone recording to tape, if you keep the levels high, you'll get some lovely tape compression to smooth things out. Although most don't use analog tape these days, ask yourself why there are plugins like Magneto around that emulate the tape compression.. Compression is not really an 'effect' although it can be used as one. I see it as an essential part of the signal chain. Most of your favourite old recordings will have a bass that has probably been compressed quite a few times on its way to your ear in fact.

There's a Harley Benton thing on Thomann which is similar to the T-Rex one (but considerably cheaper!) It also has a 12v and an 18v output so handy for any tube based pedals that need more volts. Unfortunately I need two 12v outputs for my Compressore and DHA, as well as two 9v outputs so I'm still looking...

Maybe you should consider getting something built to your spec. A one off. They don't come more special than that! From the sale of a couple of your others plus your budget you could probably get an ACG or something, built how you want it... Or maybe you're looking for the holy grail.. The One... it could take you a lifetime but the only way to find it is to play lots and lots of things, some you wouldn't consider, and do it blindfold! Thats how I came to buy a Squier VM instead of another US Fender, and I spent the change on my rig!

Looking at what you have, I think you just haven't found the right Fender/clone... Personally I like my Fenders (some are of questionable pedigree), but if you want to spend some serious money take a look at something like the Sandberg or Lakland etc. Fender derivatives, I've heard great things about these and others.

Yeah I think the entire top side of burgess hill is shortly to be under development, most of it is farm land at the moment.

Yeah we played the Kings Head in Buggers Hill a few times, the landlord was a complete a**hole. The first time we played there he said we had to finish by midnight because of noise restrictions, so we ended the set at quarter to, and did one encore taking us to 11.50. When we went to get paid he said he was docking us £10 because we finished 10 minutes early! So we added £20 to our fee the next time we played there They had us booked in another 4 or 5 times this year too, which of course have now been cancelled. but that place has had problems for years apparently, lots of violence etc. I did like it for the size of stage area (not raised but large enough) and the fact it was 10 mins drive from my house, but it was a bit of a hole really. What band are you in then Mykesbass? we are probably playing a lot of the same places!

Nice one! And it does pitch shift too

Doing the PA for the covers band a couple of months ago, did the soundcheck, was having trouble getting the vocals through in the mix. Sorted it with a bit of EQ and setting everyone's onstage levels quite low... Just as we're about to start the set, the singer said to me, "Shall I plug this speaker in now?" I'd only plugged in one side! D'oh

[quote name='discreet' timestamp='1333453450' post='1601815'] Thanks... If I were trying to fool anyone I'd be going the wrong way about it by posting big pics and info on BC! In any case, it's not for sale... [/quote] Good, that one's a keeper

If your 1x15 is 8 ohms though you will not be getting 600w, more like 300... I don't think the GB volume control is like a lot of amps I've owned though where 12 o'clock is about full and anything past there is just distortion. The GB can still be quite clean most of the way around.

It is only illegal if you try and sell it as a Fender. you can put whatever decal you like on it otherwise! My flightcase has an Apple sticker on it, I'm not breaking any law until the day I stick it on eBay/gumtree as a genuine Apple iCase. I happen to think it looks lovely by the way Discreet, stunning job Doc. I personally think the Fender decal adds to the aesthetic too. And I'm sure there will be enough people on here who will immediately post in the eBay section if this was ever put up for sale as a genuine Fender Precision bass! One of my Fender basses is actually made from about 3 different basses as well as all the parts being sourced independently. The bass has certainly not been built by Fender, I put the bits together. The Neck is Squier, the body is Fender the machine heads are Fender, everything else is from various sources. The neck was stripped down to the wood all over, leaving the headstock plain. If I stick a Fender decal on it is it a fake? or just an incredibly upgraded Fender...?

Wow, missed out there. Someone got a bargain!

As said, always subdivide. Look at the piece and see what the shortest note/rest is, then count the whole thing in your head in those divisions. Usually in 4/4 its 16ths (semiquavers) - this is not just for sight reading though, even if you're playing without sheet music its a good way to tighten up your playing IMO Dotted notes are just 1 and a 1/2 times the length, so a dotted crochet is 3 quavers, a dotted quaver is 3 semiquavers - if you're counting in semiquavers all through it will click pretty quickly.

[quote name='charic' timestamp='1333445156' post='1601678'] A piano [/quote] nice one. I'm still trying to master 4 strings and I've been playing over 20 years! Surely that is just showing off... Or maybe he's selling it because he's realised he looks like a complete and utter knobcheese!

I had this on my first Shuttle 6. Is it also really noisy? hisssss... I gave it a bang on top where the valve is, (mid gig) it crackled and the amp was suddenly incredibly loud. I think where the valve is connected is a weak point that can shake loose in transit. I sent it back as it was only a month old but basically it was the right angled connector that holds the valve onto the board, make sure its seated properly.

Will they last any longer than regular strings? I will gladly pay more for a set of strings that doesn't go dead after 4 hours, so far the only ones I've found are the Ritter ones and they are extremely difficult to obtain.

Unfortunately the Publishing rights are not very friendly to the drummers and bass players who lay down the groove that makes a track rock. They are only interested in three things. 1. The Words 2. The 'top-line' melody (usually the tune that the above Words are sung to) 3. The Chords (least important of the three as sometimes the melody can work with alternative chords) Everything else (and I mean everything!) is just arrangement/production - no publishing royalties for either of those unless names are specified for the arrangement, and the exact arrangement is used. Change the drum beat slightly, fiddle with the bass line - voila different arrangement, no royalties. Just the writer of top line and chords get royalties for publishing. THIS is the single biggest factor in the splitting up of / fighting in bands, for 'Musical differences' read financial differences. Spandau / Smiths etc. etc. loads of high profile court cases about this exact issue. More recently a lot of bands have become aware of the disparity in royalties, and where all members agree that they put the songs together as a whole they make an agreement on songwriting credits in advance. Hence you will see (all songs written by <band name>). This can reduce a lot of squabbles further down the line, but can create its own set of problems too. My advice, whatever you do, get this sorted as soon as you can so that everyone in the band is happy and you can carry on without this hanging over your heads. And don't forget to GET IT IN WRITING

+1 on Precisions, there is a reason they are on more records than any other bass. I would get a proper setup and change the strings first (and always use the same type of strings after that). Thats just getting your bass playable and recordable. Always record dry, straight in to the desk (or via a pre-amp if you need an outboard) and don't do too much with effects/amp simulators - its really easy to overkill. I would also consider that the room you're mixing in - or the speakers may be giving you a false impression of where the bass is in the mix. Most home studios will have a resonance in the bass region that can make some notes BOOOOM and some vanish. Have a walk around, even leave the room with the track playing - you might find its not sitting badly in the mix at all, but the room/setup is making you think it is! My home studio gets boomy on certain notes, but having listened to CDs through it (and checking mixes through headphones) I've learned to deal with it. Even with a £110 bass, the pickups shouldn't be all that bad - it's not like you're doing bass solos etc. that require a more hi-fi sound is it? My favourite recording bass, out of all the ones I have (see below!) has a pair of Wilkinson pickups in it that cost me £20 (for both) and I usually just use the neck pickup. P.S. For what its worth, I used to use Amplitube, but I found that the bass sounds on it were generally not working for me at all. Now I use Ampeg SVX (after recording dry) in the way Simon said above, blend the DI track with the effected track. Most important of all... COMPRESSION - not too much, not too little. Good Luck!

[quote name='Rick's Fine '52' timestamp='1333321414' post='1600149'] [/quote] Awesome!

Familiarity is the best way to speed up your reading. Get the sheet music for lines you know and follow them as you're playing to start with, then move to lines you're less familiar with and try to pick them up from the dots alone. It will take a long time of practice before you can sight-read on the spot, but it's worth it if you're doing the sort of gigs where you're required to read. My dad was a session player in the 70s and he was always busy because he could turn up, sight read (and improv. if required) pretty much nail it in one take every time. He'd always get the gig over someone who needed a couple of times around to figure it out first because studios charge by the hour. My reading is terrible these days because I haven't had to do it for a while, and that's the thing really, you've gotta be doing it all the time to be really slick - much like playing the bass itself.