ironside1966

I use a pod X3 and HD and use digital connection (SPdif) so it bypasses the preamps and keeps the channels free.

II have a fretless version, it’s a Tokai LXB nice bass with jazz type neck. I haven’t seen many on EBay but they don’t tend to go for much more than £200

The Eq is quite subtle except the mid boost but it’s not really a problem has I tend to keep the Eq flat. This is the exact reply from Rob Green. The 1 / 2 batteries does not affect the tone it's just the 'headroom' on the EQ that is improved with 18 volts. It should be fine as long as the battery is good. Adding another is possible but some work.

Contacted Status. I did not get any info on the bass but they assured me that that The 1 / 2 batteries does not affect the tone it's just the 'headroom' on the EQ that is improved with 18 volts.

I think they are Status energy basses

NIce! I had a energy a great bass . that only had a 9v pre (one battery}

Has it the same preamp? Master volume? Pickup balance, Treble, Bass, Variable midrange, Midrange boost/flat/cut switch.

I did post something a couple of years ago but I did not get many replies and anything useful, although I may try again

Unfortunately there is no serial number; I believe this is not uncommon. I thought about contacting status but on their website it states that they cannot comment on older basses

I think they all do but mine.

I have what I believe to be an old Status empathy 4 string It only takes one battery, Is this normal? Can anybody shed any light on why this is the case? The controls are Master volume, Pickup balance, Treble, Bass, Variable midrange, Midrange boost/flat/cut switch. Like the empathy the bass sounds great if not a little under powered

I don’t think you can look at this in the same context has part of the band, he or she is a professional person offering a professional service so you have to pay the going rate, good PA hire is not cheap. Just sending one man keeps the costs down but If you don’t want to muck in then they can always bring someone else along at your expense

[quote name='chris_b' timestamp='1453642451' post='2961289'] I don't mind a player with 1000 watts or a half stack. I mind when they can't get a balance, decent sound or play [i]with [/i]other musicians. [/quote] The words nail and head spring to mind. If the musicians are comfortable with their stage sound this will not only help them play well as an individual’s it will also improves the performance, tightness feel and vibe of the band. Has an engineer I can’t think of anything I could at the mixing stage that will have a greater positive effect on the overall sound, engineers want musicians to be happy on stage. The flip side of the coin is if musician insist on playing far too loud there is portably very little I could do without been totally incompetent to ruin the sound has much as they are ruining it for themselves and the band. So bring what you like so long has you don’t expect me to carry it and there is room on stage.

I go by the old saying treat others as you would like them to treat you. If a family member sold one of your basses would you just let it go and put it down to experience or would you be very upset and want it back? Could you or would you report you own child to the police to get the bass back. I know I would be devastated so that why I would give the bass back but I would not want to be out of pocket has the buyer either. For me it’s not about getting away with it it’s about doing the right thing.

I do a fair bit of collaboration online mostly mixing and production but some bass playing also. When providing tracks it very tempting to try and impress the recipient, with a great fat bass sounds and overcomplicated playing but when someone sends me stems to mix I like to receive them with has little processing has possible, no eq or compression. As long has the parts are well played and recorded there should be no problems. I like the freedom and flexibility to add my own processing. Try La2a emulation on bass it’s very easy to use and works well most of the time, I use the UAD ones but that needs a card and can work out expensive but the IK Multimedia is good. Native Instruments do one and I believe Softube do something similar.

In my experience the successful bands paid wages only, which was the nature of most pro bands where I come from. If you wanted to be in a band and have equal pay and status then you had to start from scratch, which I did a couple of times. Bands I have worked with had invested heavily in quality PA systems, lights show, large vans and quality publicity not forgetting the time spent building up a reputation and solid work bass. Even though I have had quite a lot of experience and can contribute, musically, technically and business wise if someone has got a band to the point that I am happy to join than I was happy to let them run it. Even if I started again equal split or status wouldn’t make any difference to me so long as I was treated fairly.

I think you need a full discussion on the following subjects Money – · Expected earnings · How is the money spilt or are you on wages · What happens to any financial contributions I made should the band split or I leave? · Tax responsibilities · Expenses, how and what are they paid for. Who pays for accommodation and meals on stay over’s. Gigs – · Expected amount of gigs + fees · Locations and how much travel, time and driving is involved · Commitments do you or others have any commitments that will mean not taking or cancelling gigs. Expectations – · What you expect from each other in terms of professionalism and attitude. · Rehearsals, new songs and is everyone willing and able to learn learning them on time. · What will happen if expectations are not met? Responsibilities – · Will you have any other responsibilities that are not gig related or obvious? Someone’s got to maintain the gear, clean the van, get the gigs, phone around, do the books and even unload the van before it goes into the garage and all the stupid little jobs like that. · Drink - no one minds a band member having a drink or two and most bands will get drunk together at some point but many not won’t want someone who is constantly drunk or stoned at gigs or when working. · Wife and girlfriends – again no one minds wife and girlfriends coming to the odd gigs but some bands don’t want them their all the time. Copyright – For original bands mainly. · Who owns the copyright to the songs and what other peoples contributions is worth. A rhythm sections part counts for very little so expect nothing unless the songwriters the one who comes up with the lyrics and melody is happy to give you credits There are no right or wrong answers but if you know what you a getting into it saves allot of problems in the future.

[size=4][font=Arial, sans-serif]Room acoustics and cab placement also play a large part[/font][/size]

Different people sound completely different using the same gear, never mind adding a different bass to the equation. If your jam night is full of experienced musicians and they all say it sounds fine trust them and take how other players sound through your gear with a pinch of salt.

If it is a size weight issue rather than having to plug a speaker lead in, why not try a Barefaced One 10 cabinet and use the same head.

[url="https://www.youtube.com/watch?v=e-PmQ3dFQvs"]https://www.youtube.com/watch?v=e-PmQ3dFQvs[/url] Anything from Stump, a great band and a very inventive bass player. I think the bass player is on Bass chat, so respect

[b]If you are looking to get more business you need to ask you self a couple of basic questions.[/b] Who are my prospective clients? Do the prospective clients know about my studio? If you are unknown you could run a battle of the bands competition with free studio time has a prize. Use social media, you could offer the good respected bands in your area incentives just to get your name out there. You may just need to spend more time networking. If they do about you why do they not use my studio? A lot of studios are just surviving or closing down, so you are doing well just to be around. What is the competition like? Are they busy, better or cheaper? It’s not what you think it’s what the prospective clients may think that counts. Are they more established or better at advertising? Pricing is important if you are too cheap the people who know the value of a good studio will just assume you are low rent those that don’t will go elsewhere. Find new markets, you could offer gift packagers, do voice over servicers, think outside the box. If you are on the budget end of the market you a competing with students and hobbyists offering their services for free on next to nothing so you need to educate prospective clients on why they should pay extra and use you rather than just going with the cheapest. Saying that there are many home studios that can produce tracks just has good if not better than your average budget studios, I count my self has one of them but we need not be enemy’s why not encourage people like me to record drums and other loud instruments in your studio rather than take the hit and miss approach of a laptop in the reversal room. Just a few ideas

Recommendations are good but make sure you listen to their recordings. The best and simplest way is to go to the studios web site and listen to their work. If you want to release a great sounding album or EP you need to be realistic about what you can achieve within your time and budget but also make sure the studio has done tracks that sound like a commercial release and not just average Demos.

I t would be very difficult to extract the sound from the record. Has far as I can tell from the video it looks like a Yamaha YC-30 Organ Combo. so it may be worth looking at retro organs Vsti.

[quote name='kulabula' timestamp='1445886262' post='2895087'] I'm planning on writing stuff and recording into it. Does that make any difference? [/quote] In a word, no.