BigRedX

When I formed my first band at 14, with like-minded friends from school, it never occurred to us to start by playing "covers". In fact we probably didn't even know that word. Nearly all our favourite bands wrote their own songs, and those in the glam rock/pop world often made a big deal about it - usually disparaging those who had their hits written for them. Therefore there was never any question that we weren't going to start writing from the beginning.

AFAIK the less you have in the way of speaker the better for the sound. I would be looking for something like heavy-duty chicken wire to be in keeping with the aesthetic. However you would be better off getting this moved to the Amps & Cabs section and tagging Bill Fitzmaurice in your post (and as others have said changing the thread title so it says "Cab"). The best way to get the thread moved is to report your original post and then explain what you want to do to the in report.

Are the holes for the machine head posts all the same size? It's not obvious from the photo you posted. If so you could change it so the octave strings come first simply by exchanging the outer two machine heads in each course, flipping round the bridge saddles and cutting a new nut.

Maybe build up to it slowly? Try a couple of weeks with just one octave string in each course, and once you're comfortable with that for a set's worth of songs, fit the additional strings back on. I speak as an 8-string player, who never really had that much of a problem using one.

I learnt to play when I was 13 for the express purpose of being able to write my own songs. As soon as I was competent enough to be able to strum my way through most of "The Beatles Complete" I concentrated on writing rather than just playing.

I can't think of a single musician in any of the bands I really like who stands out as being more than adequate when it comes to technique. Maybe they do have "great chops" but in the context of their usual playing I don't see/hear it. What these musicians do have is great song writing and the ability when playing together to produce something that is far greater than the sum of their musical parts.

Where the root strings are in relation to the octaves will depend on whether or not your are a pick player (or intend to be for this band). From my experience with 8-string basses if you play with a pick and use mainly downstrokes having the roots string "first" will make it easier to get the choice between sounding and not sounding the octave string(s). Of course if you play finger style the other way around will be better.

Playing music is not a competition. IMO instrument ability and technique is only important if the lack of it gets in the way of being able to play the songs. Ultimately it's the songs that are important, not any individual musician's technical prowess.

OoI how "authentic" do you expect the rest of the band to be? In many ways Cheap Trick's image is as important as the music, and for the casual gig-goer if your "Rick Nielsen" isn't playing checker-board Explorer-style guitars and either pull out one ridiculous multi-neck instrument or do the wearing multiple guitars for the solo spot, they may well be disappointed. Just trying to put the 12-string bass requirement into perspective.

The maker of the Brooks 12-string is a member here on Basschat and there's a thread on the build of one here.

I think it has a lot to do with the build of the person carrying it. I'm only 5'6" and I hate mine. It is just so uncomfortable to wear for any distance as the the bottom of the bag slaps against the back of my legs with every step, and because the straps are so long due to where the fixing points are it's impossible to shorten them sufficiently to hold the case securely against my back. It's fine for getting the bass into a tightly packed car where it will squash into places a traditional hard case wouldn't fit, and for the sub 5 minute walk from where the car is parked to the venue, but I have sworn I'll never walk home (approx 30 minutes) with it again. IMO for a gig bag this is a major fail.

If I was going to have a 12-string bass custom made, I'd want to pick a luthier who had made a couple already. IME the results are always better when you pick the luthier according the bass you want and doesn't simply ask one to make something that is outside of their normal style.

In a gig what a band does between the songs is as important as what they do during them. Both should be practiced.

For all those singing the praises of the Mono bags. Do any of you use them to walk any distance with the bass on your back or is it just to take the instrument from your car into the venue and back?

Then just play the songs. You're a band. Playing songs is why your audience are there.

They sound like Gotoh locking machine heads. I have on my Gus G1 Guitar. By far the easiest locking machine heads to use IMO. To remove the strings, simply put something in the slot at the top of the post to stop it from turning. A small coin will do fine if you don't have a suitably large screw driver. Then turn the button as if you were slackening off the string and the internal pin will descend releasing the string. When you fit new strings simply pull the string through the hole until until it is tight, and start turning the button as if you were tightening the sting. The pin will come up to grip the string, at which point the whole post will start to turn. You should be able to get the string to pitch with about half a turn around the post which means less dead length and quicker to reach tuning stability. HTH.

IME the problem with all semi-rigid cases like the Mono is that the fit and comfort can be very variable. I have a Mono M80. For protecting my bass, it is brilliant. The case saved the bass when it had a heavy 2x10 cab dropped on it during a gig load out. In a normal gig bag it would have probably caused some damage to the bass and in anything less than a Hiscox, the case would probably have been damaged as well However when it comes to walking any distance with it on my back, it's far too uncomfortable to contemplate. The straps are too close together at the top which doesn't make it very easy on the shoulders, and because of their length the bottom of the case slaps against my legs with every step. I did the 30 minute walk from our practice room to my house a couple months ago, and decided that next time I'll be patient and wait for the bus. AFAICS ever semi-rigid bass hard case suffers from this problem mainly because they are all derived from the smaller guitar designs, and have to compromise between having the straps fitted in the most comfortable places and not making the case too tall when worn. Unfortunately the only way to see if any case suits you is to buy one on-line, try it and send it back if you can't get on with it. The repeat until you find one that you are happy with.

Better is entirely subjective, and will also be dependant upon what sort of a keyboard player you are a what sorts of sounds you want to get out of it. Even for pianos there are a lot of different actions available. Most serious keyboardists will have at least two keyboard controllers one with a piano-style weight and action and another lighter one for organ and synth sounds.

Ultimately though the DK jazz bass is just another Jazz bass and unless you're a bassist and a fan indistinguishable from any other Fender Jazz. As for the Misfits they will have been stolen because of who he is. Right now I'm a nobody. Besides if any of my gear gets nicked I can always replace it.

I've not had to do it myself, but IIRC without the relevant forms customs at both sides have no way of knowing that sending the amp back to the manufacturer and then the repaired amp coming back to you is not a transaction that needs to be taxed on each journey. Technically on return you would be liable for tax on the cost of the repair, but since it should be FoC under warranty there won't be anything else to pay.

Looks. Given that most basses are capable of making the right noises in a band context, for me the most important thing is to have an instrument that has the right image for the band and the music we are playing, and in my personal case this generally means something unconventional. While there are plenty of perfectly serviceable instruments available if you want something anonymous looking, the basses (and guitars) that stand out generally tend to be at the pricier end of the market. I suppose it helps that I don't have any interest in playing covers in dodgy pubs, so I've never worried about having my gear stolen, and TBH the main basses I use are so distinctive that if that was to happen, the thief would never be able to do anything with them other than admire them in the safety of their room. I've owned ordinary looking instruments in the past, but no matter how well they played and sounded I could never really bond with them. Also I spent most of the 80s playing synths and in real terms these days even an expensive bass is very affordable compared with how much I spent on my first decent poly synth. It's all a matter of perspective really.

Probably not a real Schaller then. I had a Hondo Alien Bass that came with look-alike fitted that exhibited exactly what you have described. IME the real ones are almost indestructible. There was one fitted to my mid-80s Overwater that was still working fine when I sold the bass a few years ago.

The Pretty Things "Emotions". Their end of contract album for Decca released in 1967 and at the time loathed by both the band and their fans mostly for the additional "orchestration" that had been added at the record label's instance. I only discovered it in the late 70s, and when I first heard it didn't know anything about its history, so for me it was just another album by a band I liked and wanted to hear more of. While it's not their best album (that's Parachute) it's also not their worst by a long shot and IMO is on a par with the two earlier Decca albums, and it does include some of my favourite songs by the band. When I finally got to hear the versions of the songs without all the additional orchestration on an early 2000s re-release, I was surprised by how little difference there was between them, and in some cases the versions without all the extra instruments sounded weak and only half-conceived. Of course that might simply be down to familiarity, but after almost 20 years I still prefer the versions that were "ruined" by the record label.

Make sure both you and Handbox sort out all the relevant customs forms to say that the amp is being returned for a warranty repair otherwise you all be stung with another round of VAT, import duties and handling charges for the two additional trips the amps will have to make.

Who did you use for your short run?