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jonsebass

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  1. This post cannot be displayed because it is in a forum which requires at least 1 post to view.
  2. Thanks everyone - For now I am really keen to keep the medium gauge strings so I've done what Bruce suggested and measured the string height before and after tuning. There wasnt a massive difference (at least not really anything I could accurately tell you about, but I was able to slide my library card in and out without any catching on the strings (just). So I've loosened the truss rod off and will see how it settles and sounds tomorrow. Action immediately after still looks low (not touching but my library card is a very snug fit) and will wait and see what adjustments I need to make at the saddle end in a couple of days or so. Really appreciate your advice on this - thank you. As for playing in Eb, it's something that we've always done in every band I've ever played in - easier for the singers and a bit of a heavier sound for a 4 piece. I normally keep a bass tuned in standard to rehearse with (and switch for the odd studio track that's tuned down). I dont buy many basses, and hardly any new, this being the first new one in about 10 years and I've never had this issue with used basses bar a bit of intonation and action adjustments. I should probably have mentioned that when I bought this bass so that it could have been set up appropriately. Lesson learned (and forgotten when I buy another new bass in 10 years!).
  3. I recently bought a Bass Centre "Betsy" Bass. Lovely looking bass - if you havent looked at them yet, please do. The bass came set up and tuned straight out of the box - the Bass Centre pride themselves on having a guitar ready to play straight out of the box. Betsy comes with medium gauge Stadium Elite strings which combined with the low pro set up absolutely blew my mind! Being a player that digs in but also suffers with blisters etc. the medium gauge strings have been a massive help, and also help me play a bit faster too. Brilliant. But... The bass came out of the box in standard 440 tuning (EADG) - but the band I'm in play everything a half step down. When I tune the bass that half step down, it sounds a bit "floppy" and poppy especially in the mid and high range. The strings still seem to have similar levels of tension (albeit sort of noticeably looser) but other than that, it all seems the same. I'm just wondering what effect tuning down will have on things like the action / truss rod / tension etc and how to resolve them? Is it a quick tweak of the bridge to raise the string height and intonate, a turn of the truss rod, or actually do I think sod it and put heavier gauge strings back on (45-105) like I'm used to. Any help gratefully received!
  4. I am incredibly late to the party here, but I'd like to wade in with a few points. Firstly, Neil Murray. On Basschat. stinky poo a brick! At 34 I feel like I've been a Whitesnake fan all of my life, from listening in the back of the car as a kid, through to seeing Live... In the Still of the Night in 2006 and playing (or trying to play) some of Mr Murray's basslines note for note in bands and failed bands and wannabe bands and rehearsals etc. Indeed my Spotify account reminded me last year that I was in the top 5% of listeners to Whitesnake... Yeah, trying to flipping learn THAT version of Ain't no Love in the Heart of the City (which I'm still getting to grips with) and FFYL which well... Now I've got a bloody good reference point. That'll keep me going! Very interesting to hear from the man himself about what went and goes into writing those types of iconic lines then and why they aren't necessarily the same now. Food for thought for a covers band bassist! Now, being a player for the last 15 years all started with seeing Live... ITSOTN standing in front of Marco Mendoza and Reb Beach, watching and listening to them tear through the set with Mssrs Coverdale, Aldridge, Aldrich and Drury, singing my throat out, being thoroughly inspired.... and then buying a bass the very next day (a gold Wesley PJ!) but in my naivety assumed THAT was THE band I've been listening to all of my life. It didn't immediately dawn on me that band members could be replaced! I too was secretly astounded to learn it was Mr Murray on bass for the 5 times I saw WWRY (yes dear of course I don't mind seeing it again) - I waited at the stage door for the musicians rather than the cast! (Didn't get to meet any of the musicians though, sadly) So maybe in truth and reality, I owe the last 15 years as a bass player, the highs, lows, blisters, miles driven, suspensions ruined, adrenaline highs, bank balance lows etc. to Neil Murray? If that's true then THANK YOU! I think I've found that post-covid motivation I've been looking for. PS... came to the internet looking for a Neil Murray book having read Bernie Marsden's book in a day...
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  6. Well... after much soldering and tinkering, it didnt matter where it went so seeing as it still works as a volume knob, ill leave it as it is! Thanks for your help tho guys
  7. Thanks for the schematic - same one as I've found, but it doesnt say what to do with the push/pull. I haven't a clue what the push/pull does. At the moment it doesnt do anything but obviously the knob in it's current state acts like a standard volume knob. I've attached a couple of pictures.
  8. Hello... Right, so I've been doing my head in with trying to find a bleedin' wiring diagram for this bass I've just picked up. As the title suggests, its an old school Warwick Rockbass - It's one of the Streamer models with the single pickup (like this) but in black. It didnt quite sound right when I bought it, so off came the back panel. I've discovered that there is a black wire that comes from the push/pull volume pot to the tone pot that is linked to another black wire that goes nowhere - I thought it would be an easy job to find a diagram to reattach it in its rightful place but havent been able to so far... Can anybody help me with either a wiring diagram or just tell me where the [email protected]@rd thing goes?!! Thanks Mark
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  10. Ive just commented on the Facebook post. Im from Leicester (ish) and am doing some charity gigs in August if its still available and local.
  11. If you've got a female vocal in the band, then Alannis Morrisette's "You Oughta Know" is a really tricky bassline to a great song. Plus, anything by No Doubt - again, trickier basslines than you think to really catchy songs.
  12. I agree. It would wind me up. Well, I was in a similar situation and it did rack me off. Not wanting to hijack the thread (and admin feel free to move) but im slowly finding myself in a situation where the band im in need to relieve one of our members from their duty - what are other people's experience with this?
  13. Id steer away from superglue. I played a gig on a Friday night and was struggling to hear myself so I dug in more. It was in my early playing days so I blistered quite badly. My amp wasnt the loudest or best and there was no room on the pa for a di. A friend of mine suggested superglue for my gig the next night, which was duly applied. Halfway through the first set the superglue started to peel off my index and middle finger of my playing hand and by the end it had actually taken the cap off both fingers from the end phalange over the nail. The skin underneath was understandably raw and I struggled through the rest of the gig with a borrowed pick and what was left of my fingers. My fretboard was covered in blood which looked cool but actually nearly made me pack in! In the end I found that an enforced rest, surgical spirit and a change of string brand did the trick. Since ive swapped to elites ive never blistered like that. So my best advice is to rest, but if you have to play then surgical spirit is the best.
  14. [quote name='JTUK' timestamp='1405978191' post='2507260'] £270 is minimum cost as we pay 5x£50 and £20 for the P.A... we have a new P.A so that may have to go up. I think it is an insult to pay anyone less that £50 for a pub so that is what we bill at. Anything over 25miles away needs petrol exes... Parties start at £550 for family and friends, and normal parties start at £750 excluding P.A and lights and travel. Maximum playing time is 2 hrs and we charge to put sound through the P.A... if only because that means it may have to be up and running for longer. If people want music until 2pm, we tell them to get a disco but if we have to do it..we charge them for keeping 3 people standing around for how many hours waiting to pack up. [/quote] So we're not too far off really, but why do you charge for taking PA and lights? Isnt that like charging extra to take your guitars, or is it that you've got a separate sound/light guy? Sorry if that sounds sarky btw, its just something thats always narked me.
  15. So what is the going rate for gigs then? Do you have a "bass" (geddit) cost (of say £200) and then add on extra $$$ for longer sets etc? I've played bass in the same band for yonks now, and we started off playing pubs for £160 (when we first started out as a 4 piece) and then that went to £200 as we became more popular. Now we are a 5 piece we play 1st pub gigs for £250 and subsequent for £300. We have pretty much always done 1x 60 min set and 1x 90ish min sets. Weddings/parties we charge double for (£600 just for the band) because the majority of the time we have to setup early/the day before so theres a lot of travelling. Set times are normally chosen by the person thats booked us. I've heard of some bands that charge more to bring their own PA/lights and things, which I find ludicrous really. In terms of playing for 4 hours, I think I probably would as long as its pointed out upfront and reflected in the booking fee (I will never forget the time that our guitarist couldnt do a gig so we did it as a 4 piece with about an hours notice - it was a common gig for us but a new landlord. He asked the 4 of us to play from 10pm til 1am with a 15 minute break (we used to do 9:30 - 11:30 under the old landlord). He knew we charged £250 (first gig for him) and we managed to get thru the gig by playing our normal set as best as we could and blagging a few others. He came up to us at the end of the gig and paid us £200 and told us that he didnt need to pay us fully as we were a man down! What an idiot. Needless to say he didnt stay there long!)
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