uk_lefty

Use whatever fuzz pedal then feed it into a bass wah and rock it back with your heel the right amount to get the "sub" element to the sound. It won't be a precise reproduction but it could sound close.

Input. I don't have the patience to hook up more cables! I use a mix of patches but I prefer not to use cab Sims when doing this because it can get mushy. Having said that some patches have an Ampeg B15 sound for example and this is great for making my Stingray sound a bit closer to a Motown P bass sound. As with all of these things, what works for me might not work for some others. I play a Stingray, roundwound stainless steel strings mostly finger style.

I used to always have it at 12 o'clock and just got used to it there. It used to make my sound a bit louder and more punchy. Now I'm favouring presets on my Helix I have turned it off, but i was going with no pedals I'd have it on, it just seems to work for me and how I play.

I can't seem to share it but on the Left Handed Guitar Sale/ Trade Facebook page there's an EIGHT STRING Rickenbacker. It's up for £4,500. I have absolutely no connection to the seller, items etc, I just noticed it now and thought it's bonkers and I'd share it with you all.

Great news @Chownybassand I hope it pays back on spades for you! Your semi hollows always had a good left handed option, hope that remains....? I'm on the lookout for something I can use for acoustic sets and a made in GB semi hollow bass sounds the perfect solution!

Yep I've paid up for the custom pros having seen the singer from my last band lose his quality of hearing. O don't understand people who use nothing to protect their ears. After one session with the cheaper ACS plugs I was used to them. I even wore them while travelling on the Victoria Line because of the horrific noise it makes. Glad to hear they're not as intrusive as the procedure to make them, that was not comfortable at all.

Seconded! If you love the neck and feel of the bass, you don't use the active, why not supercharge the passive? I've got one of these genius looms in a very "cheap" but still good quality bass and it has taken it to an entirely different level. The electronics were weedy, really thin, and just upgrading the loom has made it a monster. A very musical monster. Sounds like you like the bass enough to rescue it. If it does only one sound, but you love that one sound, sort out the choking and keep loving the bass! No guarantee you will feel the same about any other bass.

Has anyone had custom ACS plugs made and can you confirm how far into the ear canal they go? I've had the cheap versions for a few years and really felt the benefit so decided to get a custom set made. I had the impressions done today and couldn't believe how far into my ear they went, if the earplugs go in like that they'll join together inside my head!

Love it that someone out there can reproduce those 80s MIJ body styles! Great project.

Kramer Striker five string fretless. The modifications from stock... Kiogon loom with the magic sauce that makes the cheap stock pickups world beaters. I'd like an epoxy type coating on the fretboard. Maybe some better quality woods in there, but really for a cheap bass this is still going almost twenty years since getting it and I have used it in every band I've been in. The headstock shape makes it a bit lairy and not suited for everything but having said that I think that's part of its charm. It really looks out of place at an acoustic blues gig. Especially when you've just been told "it's 12 bar blues in *whatever key* you'll be fine" and expected to play competently for a whole gig....

Rehearsal is absolutely essential. I get it when people have varying levels of commitment and different expectations but that's why you almost have to "interview" everyone before agreeing the line up. That's not to say it won't change over time but if everyone is honest that's step 1 done, getting everyone on the same page. Then for step 2 see who is just talking it up Vs who is doing the work, learning the songs, can play their instrument, etc. Sadly I've met so many people who talk the talk but really they just want to do a show and tell of their expensive gear instead of learning songs properly, then criticise others for not being able to rehearse because they're on holiday in two weeks' time. I've just joined a very good covers band. The "interview" on the phone lasted an hour, they got sent video and recordings then I did an audition, then a few weeks later an extended practice including learning a new song and some in different keys, waited another week for them to see others, then got the gig four or five weeks after the first phone call. I've got a set list for a gig on 10th December, each song with notes on whether it's in original key or of its a different version of the song, and I'm going to track my progress against these so we can plan what to practice. There's no way I'm turning up to busk through songs or try to figure it out in the room. Pressure is on, but I like the organisation of this outfit.

We would sack you but it's too much paperwork so... 😄

Here's the solution I've gone for... I've invested in an Ashdown ABM Neo 1x15 cab to have a better quality fifteen. When I only need one cab I'll use this and I'll get a Markbass wedge thingy. I'll keep hold of my upgraded Rootmaster fifteen for now. For the rare occasion I need two, yes they won't match exactly, but I'll have two fifteens available. If it turns out I don't need two cabs much if ever the Rootmaster will go. If they don't sound good together the Rootmaster will go and I'll get another ABM Neo fifteen. Thanks for all the advice everyone

When I started out twenty years ago I saw quite a few live rock bands using drum machines pretty effectively in place of a smelly pot basher. I'd guess these days the tech is better. Persevere until you can get a real one that works for you?

Thanks Phil. I'm looking for a "one size fits all" solution. I'm joining a new band that play larger venues where PA provision will be better than what I was previously used to, but I can also see me needing just my amp and no PA cover for smaller gigs. Good point on the drummer, I shall ask him. The rationale behind my choice of 15s or 4x10 was not scientifically informed. I like the sound of two fifteens having had it before. I don't like the sound of a single 2x10 or my fifteen with a 2x10, but I thought a good quality 4x10 would be a decent single cab solution. I don't find the single fifteen on its own very good but I've never angled it before.