JohnFitzgerald

[quote name='TheGreek' timestamp='1322341929' post='1449761'] I accept that it's not the nicest headstock in the world but the bodies...hmmm...so reminiscent of a woman's hips and bottom.. [/quote] I couldn't disagree more - in a nice way. The headstock is just so distinctive and is a great feature. All in my opinion of course.

My Squier Jazz is the best bass in the world. For me.

No, that's what they sound like. At least, the one I have here does. As regards living without. Much as I would like these things, circumstances most likely dictate I can live without. I can but dream though. Never heard of Mike Lull. Will go looking, it's at least nice to know they exist.

My main squeeze is one of these. [url="http://www.youtube.com/watch?v=9Y6Wkaz5glw&feature=related"]http://www.youtube.com/watch?v=9Y6Wkaz5glw&feature=related[/url] That's not me in the vid, I hasten to add, but the lad's a handy player. Squier Jazz Active V Deluxe I think it's called. I should know, but it's such a long name I sometimes forget myself. What would I gain by going to a boutique superjazz ? Reason I'm asking is that it sound pretty damn mint to me already. If I fed my own one some new strings, it would sound just as nice as this one. Other than the sheer undeniable coolness of ownership, what would a Sadowsky or similar bring to the party ? Genuine question.

Another hello from me. Also north of the border. and guess what. There is a band gigging in these parts called Ernest. Not Earnest, but close enough I think you'll agree.

I think it's possible to do low cost and decent quality all at the same time. My Trace Elliot head (which is unmarked and immaculate order )and Peavey 410 together owe me a grand total of £160. The sound is utterly immense. Plenty of grunt, that's for sure, and a sound that I would do very little to change. I like it so much that I sometimes open the cupboard, take a look at it and then close the cupboard again. What would that sort of money have bought me new ? Very very little.

Fat and thump yes. Sharp top too, but that would be the HF component. If I'm being super critical, there's a bit of the mid that I like ever so slightly missing. I'm loathe to start EQing it back in though. I view EQ as being something you use to fix a problem and by exception, not to get your voice in the first instance. As an asides, once we got the mains on last night, the sound was mega through the PA. Bring in the sidefills and that missing middle just comes back. Still, if there's something I can do to lighten the load, I will. Alex, I would have one of your cabs in a minute, but although the GAS may be willing, the wallet is weak.

Or a couple of 2x10s for the vertical stacking thing. I'n a previous life, I used to be a joiner and still have the knack I guess.

Paul Your whereabouts ? Better for spreading the word.

Yeah, I think it's the heaviest lift we have. Would be great for a residency.

The amp head is no bind at all. It's light enough to be no problem at all. It's one of the ones with a briefcase handle on the end. Put it this way, our lead guitarist brings a couple of Les Pauls and each of those are heavier than my amp head, so that's no real issue. The cab though. I could do with that bein lighter. Maybe a TC cab, just like the one McNach just bought :-)

Had another run out last night with the Trace AH150 and the Peavey 410BX. I can't seem to bring myself to do anything other than plug the Jazz bass active into it, both pickups on, EQ flat. Engage pre shape, no EQ. Compressor set about 12 O''clock, there it is, just a great sound. Currently running with the trim pot on the HF horn about 50 % and that leaves it sounding crisp but not too brittle. With the pre gain set to just peak into the green area and the post gain at 1.5 out of 10, it keeps up with two Marshalls. Who would've thought that such a great setup could be put together for £160. If only the cab didn't wieght more than Luxembourg. Might have to look into one of those modern light cabs. It'll have to sound as good as this incredible old Peavey though.

[indent=1]Agreed, regarding the sound within the context of the band.[/indent] [indent=1]I've been a Jazz bass player for an awful long time now.[/indent] [indent=1]I love that back pickup honk with the tone rolled off.[/indent] [indent=1]Love both pickups on too, but with a more neck biased plucking position.[/indent] [indent=1]I have just come to realise though, that within the context of the current band setup, a P bass sound would probably be more suitable for what I'm currently doing.[/indent] [indent=1]That's why I'm currently erring toward grabbing a P bass of some sorts.[/indent] [indent=1]Does one thing, but does it well.[/indent] [indent=1]that would be my my own, self determined, way of fitting in.[/indent]

I've said it before and I'll say it again. If you're a journeyman holding a down a gig in the sort of band that most of are probably in, you really need to have the Bobby Vega approach. Fingerstyle Pick Style Slap Fretless. Covers them all. As with any subject, you should spend the most time on your weakest aspect. I would be ashamed to not be able to do a job on any of them. I have to say that my wilderness years as a guitarist (where I set out to play fingerstyle initially) taught me to pick up that little lump of plastic. Slap and fingerstyle were never a problem, fretless too to a lesser extent. You have to be able to do them all in my opinion and should practice accordingly. YMMV / YMCA / ETC

Drums - left handed, but open handed. I can't help but lead with my left hand. Snooker cue - left handed. Golf club - right handed. Writing - left hand. Hammer - left hand. Screwdriver - put them in with the right, take them out with the left. Trombone - right handed. Guitar / bass - as above, right handed. Mouse - right hand. Cutlery - traditional, fork left hand, knife right hand. Scissors - left hand. Try that with those modern handed scissors. Grrrr.. Now, I'm not sure whether I'm left or right handed.

I wouldn't be told what technique to use. However, I would want to know that I could if I wanted to. I used to be a plec naysayer and would never consider it. Then I discovered Bobby Vega Fingerstyle, Slap, Plec, Fretless, he covers them all. He's the player I would aspire to be. Funk played with a plec, how cool is that. [url="http://www.youtube.com/watch?v=hx2lza1Rb0U"]http://www.youtube.com/watch?v=hx2lza1Rb0U[/url]

My absolute Nemesis in terms of, "can't really properly play it" would have to be "Hit me with your rythm stick." I can play it at a slower speed, but never nailed it at the correct tempo. My fingers on my right hand move far too much it seems to be in place for the next note. Maybe I should work on tightening that up a bit. I can do 16th notes at that speed, but not fluently across the strings like Norman does.

I'm left handed, but hopefully my avatar show me playing a right handed Jazz, the right way round. I couldn't begin to play 'left handed'. My left hand is far more dextrous than my right, that's why it does all the work on the fingerboard, or fongerboad as they used to call it in ye olde days of usenet.

If you can handle the atonality of the music. Check out Primus. Personally, I can't truly like what they do, but I can't completely dislike it either, no matter how hard I try. Les Claypool slaps some amazing fretless. Or maybe he doesn't. I can't make up my mind.

[quote name='Bassclef' timestamp='1321205869' post='1436446'] A van sounds like a good idea but please [color=#ff0000]don't[/color] buy an LDV. That's the make, LDV, it doesn't stand for anything.[/quote] Leyland Daf Vehicles ?

Well, there's a question. Our PA amps are Crown XLS602s. I'm convinced these are made of depleted uranium they're so heavy. When we suggested replacing them with class D amps, the shop said "go for it, but I would keep the Crowns for the subs." He reckons the heavy iron is more suitable for that application.

[size=3]I know what you mean.[/size] [size=3]I'd still be sticking a 3U power amp into a little flightcase and a pair of these as well.[/size] [size=3]Anyway ![/size] [size=3]I've had my say, I'm sure you'll get on fine with something like an SWA1501, quality bit of kit.[/size]

New toys for the PA amp rack. Behringer Multicom and Multigate. After hearing some mates last week, who were good before I go any further, I figured out that the drums just weren't sounding quite as tight and punchy as you would have wanted. So, snagged the above for the amp rack. Probably need to get a new rack though, as I don't much fancy patching them in every night. Fancy a combi rack / mixer case so the processors, amps and mixer all gets to stay together. More pics as I put it all together. Not that I imagine there'll be many as sad as me who like this sort of rubbish.

We've had powered stuff before, the HK Audio gear. Deliberately went back to power amps. Our two powered subs had a stereo top end and a mono sub, that was in both sides, so six channels of amplifications between the two subs. One channel went down and could not be repaired. Bingo, whole system useless because of one dead channel. Not utterly useless, but what point is there in the system if you're down an amp channle which can't be repaired ? How stupid is that ? As it is now, if an amp goes down, we'll swap it out and keep going. As I said above, had powered cabs. Will never ever go back to them. Not a chance. GIve me a hernia inducing amp rack every time. I know where I am with that.

I have to be honest,If I were getting a Vintage Jaco (which I very well might), I would be doing it because I'm a Jaco fanboi. I am a Jaco Fanboi, got all the albums, love the sound yaddah, yaddah. I'm afraid it would be Rotosounds and either coat the neck to protect it or live with it. Roundwounds haven't killed a fingerboard yet for me. I'll be wrong with this point of view, but to me, this bass should run roundwounds. There's no point in buying a Ferrari and putting diesel in it. Flats, Schmatts !!