uk_lefty

Either everyone swaps instruments for a novelty song or nobody does. Simple.

If the cost of respray is too high you could also look at vinyl wrapping, may be cheaper. There's been some threads on it in the past. Just a thought/ option.

I don't understand... You needed to update firmware on the amp and this somehow led you to buying a separate effects pedal?

The Stingray and Godin style ones look fine to me. I'm not keen on the singlecut but they're doing what they do: making a cheaper alternative to what's out there. If I needed a backup to my US Stingray I'd have the Sire on my list to try out at least. I've had a few of their basses but they don't last long in my possession, even though I think very highly of them.

Thanks.... I have done absolutely nothing yet. I got some Sadowsky tuners which look fantastic but I really need to get to a local builder to have the neck and bridge properly fitted. Once that's done everything else should be a doddle.....

That was me in lockdown! Fooling myself that I could buy wrecks on eBay and make them either usable or turn for a profit. I have neither the skill, tools, time or patience to do this. But I am a sucker for an 80s Japanese bass.

My Harley Benton has been gigged twice this year. Once out of preference and once from necessity. Like Kodiak's mine is always out on a stand and ready to play. I need one of these 50's now, you've all persuaded me!

Crazy world of Arthur Brown, Fire. We play very little from before 2000 so this sixties classic isn't even worth mentioning, sadly. But it's one of those songs I heard as a kid on my dad's cassettes in the car that really made an impression.

It was on a stand at the side of the stage, and it was used for the gig. The Harley Benton fretless mentioned in the original post.

Tuning up and the G string on my fender jazz just popped. No spare strings, left them in a different gig bag. Tonight's gig will be on the Harley Benton fretless!!

Through my practice amp running the LMB-3 before the EBS and having everything else in the loop seems to work. Gig tonight, luckily we get tons of set up time so if I get the bass dropping out through my gig rig when I engage the drive and or distortion then I can be aware of it and not rely on those for the gig.

My drummer went to Roland V drums a while back. Long story short, with a LOT of work and patience it can sound and look perfectly like a "proper" kit. The cymbals weren't quite right so he's got the real cymbals back but the electric kit. He spent a lot of time reading through troubleshooting stuff on the Roland forum and making adjustments to cables and stuff. The sound coming from the PA was odd until we got a sub and stuck that central-ish behind us and that made a big difference.

A Remark you made, Weather Report. It's sad, haunting, bass driven. A Tout Le Monde, Megadeth. It's a f'ing great song and I love it. And it's my party. Either that or Cutting Crew, Just Died in Your Arms. Death of a Clown by the Kinks for the ending, ever since the first time I heard it I knew the perfect occasion for it. These are my wishes.

I want to like PJ basses but I think they are prejudiced against me. I'm still not ready for fan frets.

Agree with you completely.

Specifically last ten years? A lot of the bigger songs by Bruno Mars and Last Gaga are from 2000-2010. I know, it feels like they're "new"....

It's just a real ball ache to keep rearranging the pedalboard!!

Tha is for this, really helpful. I can take a photo of settings later. I'm not sure if it's the LMB-3 or just some of the non bass pedals that are in my chain like a Boss DS1 that I'm experimenting with. Either way I'm in line with your thinking, send the compressed signal into the input and then allow the other boxes to do their magic with that.

So... I run almost all my pedals through an EBS Microbass II effects loop. My signal chain goes: wireless into tuner, to EBS effects loop, a handful of pedals then a Boss LMB-3 and back into the EBS. I'm wondering whether the LMB-3 is better off before the signal hits the EBS? I had it earlier in the loop and found it killing the sound from the pedals. I can't put it after the output of the EBS because I like to DI off that. Any helpful suggestions welcome.

Had one for a while. Really, really liked it as a DI/ EQ pedal, great for going straight to PA. The distortion might not be your cup of tea though so it might not solve all problems in one pedal. Then again, it could be a good option to have, if it didn't have the distortion function it would still be a great pedal.

I've never properly recorded in a studio but from all the little bits I've learned I would go in with a bass freshly set up and do as I'm told. The bass will most likely get recorded in one or two takes straight into the desk and the most of the day will be spent getting the guitar sound right... Or so I expect. I'll probably take a good book and bring a selection of different foods from the supermarket to share with all involved.

Just anchor your thumb onto the p pup itself. While practicing just try to keep consistency of tone and hand position and you'll get into the habit.

I don't agree that it's the greatest ever but I will listen to it more closely, good call! That's why I like these discussions, find something completely new or take a different perspective on something you thought you knew well. Great thread @TheGreek

this is perfection. I've never even thought about the bass line or any individual part, it's just one solid entity of musical bliss. I think it's the sheer emotion, it's sad but hopeful, everything about the performance is pushing those emotions.