peteb

Yes, it's a really good track - but I thought that you didn't like 'screechy' and 'over sung'?

A pretty safe choice there. Whether you like the genre or not, or even if you don't like the song, one of the greatest vocal performances ever recorded...!

I very much doubt that whoever buys this will use it the way you use your bass. I assume that you paid about £3.5k or so for your 73 Jazz? That's quite a lot of money for an electric bass, but (to me) easily justifiable if you love it and are going to play it regularly. I'm sure that you would be upset if it was to get stolen, but it wouldn't be the end of the world. That's the difference between getting a bass that is a 'player' and one that costs so much that it has to be viewed as an investment! There's no way that a rare 1960 Jazz is objectively going to be seven times better than your 73, but it is rare and extremely collectable. It is going to be bought either by a collector, or someone (presumably a top session player) who spends a lot of time in recording studios and might think that it would give him an edge in getting high level work. Either way, they are not going to put it in a gigbag and take it on the bus at night, they will just have too much money in it and it is too valuable / rare. Of course some people will say that you could get away with a Harley Benton for £150, but that's just the opposite extreme!

At that price, does anyone care about a new set of strings? You are not paying £27k to take it down to your gig at the Dog & Duck on Friday night - either it will go to a tech of your choice for a complete examination / set-up or into a locked display cabinet.

The Self-Adhering 'E-ThumbRocker' is exactly what I'm looking for. Many thanks.

Thanks for that, but I'm looking for something much smaller than any of their models, which I can place next to the pickup on a MM Stingray (with no screws). Also, all of those models would require you to have your thumb too far away from the E string (for me, at least).

I have never really got the 'floating thumb' technique down and have developed a perfectly serviceable technique based on anchoring my thumb on the pickup when playing fingerstyle. However, this causes a bit of a problem when playing my Stingray, as I would rather be playing a couple of centimetres or so nearer the neck. I wonder if anyone knows where I can get a thumb rest that I can stick to the scratchplate using double sided sticky tape? I want it to be pretty discreet, no more than 2 cm long and 5mm high, and easily removable if required. Any ideas?

Well it's certainly different to 'what cab are you using' or 'what wireless system have you got'...! They are black leather hi-tops from 'ecco' (I've just checked the make). I think that I got them from Amazon years ago (however I could be wrong), but you do sometimes see ecco shoe shops in some of the better heeled market towns (like Harrogate around here). I hope that helps...

The Zep tribute played a hometown gig (well for me, the singer and the keys player) at Tapestry Arts Centre in Bradford last Friday. A decent turnout and all in all it went really well, which is always good when you're playing in your own backyard. (pics courtesy of Nigel Bain)

If it was a £3 or £4k instrument then I would say that you are probably right - that's certainly how I would approach buying such a bass. However, for £15k I would suggest that you have to look at it primarily as an investment and I would be looking at all the photos and provenance I could reasonably ask for to justify such a high price tag.

This is my slightly re-configured mini board, complete with the new micro-thumpinator. I am thinking of adding a preamp / DI and using my bigger board (Pedaltrain Jr) again in the new year, but this is what I'm taking out at the moment.

Same here! I had and really liked it, but got fed up with the battery going down with no warning! I ended up getting a PJB Double Four, which is much more versatile and a great bit of kit, but not exactly cheap...!

I am definitely very tempted by the BP1 Compact. I need to get down to Bass Direct to try one out some time soon.

I gigged an old Italian built CMD102 for quite a while - really good amp, no problems at all...

I would suggest that guy wasn't a good bass player at all - being good isn't just about technique (far from it)! Drummers tend to be far worse...

Tim appears to be a rather singular person (based on his posting here) and seems to have a rather unique outlook on life. While he seems to hold his own experiences and outlook on life in rather high regard, I certainly wouldn't go as far as to say that he is narcissistic. Also, he isn't always wrong and he certainly isn't wrong in the post that attracted your comment...!

You might not be able to hear it, that isn't to say that it isn't there causing havoc with the low frequencies being sent to the desk.

I should say that generally I like the sound of my rig, but at SOME venues I've found that I need to turn the master volume higher than I would really like and occasionally you get a booming bottom end where I have had to cut loads of bass on the amp, which again I would rather not have to do. The idea is just to cut some of the unnecessary low frequencies to free up some headroom in the amp and to send a signal to FOH that makes it as easy as possible for the sound engineer to get a good bass sound as quickly as possible. I am going to use a HPF pedal on a gig next week that @LukeFRC has very kindly offered to loan me to get an idea how it will work, but I am tending towards a micro-thumpinator at the front of the signal chain at the moment.

Yep...

Terrific night last night at the Forum in Darlington with the Zep tribute. Great venue, good sound, decent guy promoting and, above all, a brilliant audience. Second gig with Phil (Didge Digital) on keys and about the sixth with Damian, the new singer, which has taken a good band and lifted it up a level. Great night...

Yes, I did mean HPF (now amended)

That makes sense about putting the HPF after the compressor. With my rig, it would have to go before the DI, which is OK with me. You seem to have more faith in the guy doing HOF than I often have! I like as much control with what goes to the desk as possible, as you never know if the engineer is any good or not...!

I'm thinking of adding a HPF to my set-up to free up some headroom on my amp and control a bit of the boom you occasionally get in some venues. I assume that a LPF would help with that? If I get one, should I put it before or after the compressor. I'm afraid that haven't waded through all 19 pages of this thread, but has anybody used a Sine Effect H24 HPF pedal and is it any good? Or would I be better looking for a micro-thumpinator second hand?

Surely the idea is that we are all supposed to be musicians here??

Has anyone tried any of the Caveman Bass Preamps, rack unit or the more compact pedals?? I must admit that I am a bit curious about them...