Musky

And did he ask you to play Run to the Hills?

[quote name='bassjamm' post='1131746' date='Feb 18 2011, 12:44 AM'][snip...] I don't really want to suggest songs for tone ideas as I'd like to try and craft something unique, but I'd appreciate some help I guess Thanks in advance for any suggestions. Jamie[/quote] If you really want to create a unique bass sound you're going to have think pretty uniquely, and that's going to mean breaking some 'rules'. I don't really think there necessarily is such a thing as a '"punk tone", as as evinced by some of the youtube clips in this thread; some very different tones going on there. What really matters is that you find something that works with your band - I not entirely sure that JJ's tone would have worked so well with two distorted guitars for instance. But ideas for thinking outside the box? Very light/very heavy gauge strings, extreme EQ settings, downtuning (and playing further up the neck), 'unsuitable' gear (like JJ's broken guitar cabs), lowering the action to clatter the frets. All have been done before of course, but it's all about how you make it yours. Anything is worth a shot, and that's before you start playing about with your technique. I always thought Steve Jameson's sound was pretty amazing.

[quote name='Lozz196' post='1130744' date='Feb 17 2011, 11:12 AM']Yes, spot on. Using various amps through my Marshall VBC 412 has been the nearest I`ve ever been able to get to it, but there was still something not "there" - probably the split cone sound, plus not using a 70s heavy P-Bass with maple neck.. A lot of people seem to forget that there was an incredible amount of presence in JJs sound, which is unlikely to be replicated with 1 or 2 speakers. Plus, there was a lot of bass in there, but because of the distortion and treble, again, this seems to get overlooked. His sound had plenty of bottom end to it.[/quote] I've got to admit I didn't really think that there was a lot of bass in his sound. He was using guitar cabs, notably Hiwatt and Marshall (Marshall cabs were used a lot - I remember him using Marshall cabs and plenty of early footage has Marshall more in evidence than Hiwatt). Now 70's Marshall cabs bass response fell off a cliff at about 100hz, but also had very strong low mids. He could do want he wanted with the bass eq, but none of it was going to emanating from his 4x12. Though interestingly it would have pushed the drivers hard. [attachment=72502:Marshall...sponse_2.gif] Of course what we hear on record or DI'ed through a PA may have had plenty of bottom end in there. Which may make obsessing over his rig a little pointless.

What was that all about then? The ad seems to have disappeared now.

[quote name='lojo' post='1128904' date='Feb 15 2011, 09:00 PM']Sorry cant add to the thread, but just wondering, when this was first popular, was it simply a new take on the way a bass could look, or did they seriously promote the system as an improvement?[/quote] Oh they were very definitely promoted as an improvement. Steinberger and Status developed their instruments independently but came up with very similar designs (headless and the use of carbon fibre) at about the same time. I can't remember the story exactly who was first - I think one was prototyped first and the other made it to market first. 1982-ish? Anyone remember the exact details? Edit: It must have been before '82 as I can remember Bill Wyman playing a Steinberger in that year.

[quote name='Heathy' post='1127603' date='Feb 14 2011, 08:46 PM']Thanks. TIM? now I'm really confused. Who's going to spill the beans?[/quote] [url="http://basschat.co.uk/index.php?showtopic=111461&hl=tim"]http://basschat.co.uk/index.php?showtopic=111461&hl=tim[/url] You might want to get in the beer and popcorn before you start that thread.

Take a look through the [url="http://basschat.co.uk/index.php?showtopic=380"]DIY cabs sticky[/url]. There's plenty of links to plans for cabs in there, as well as other cabs that people have built themselves.

[quote name='icastle' post='1126170' date='Feb 13 2011, 05:42 PM']Maybe the easiest option would be to take a look at some of the valve preamp pedals that are on the market. Set your drive level on that and just set your rig to a comfortable level.[/quote] +1 Seems like the simplest solution all round, though there are plenty of SS designs that might hit the spot as well. Badder Monkey?

[quote name='EBS_freak' post='1125496' date='Feb 12 2011, 10:17 PM']I have never tried it, but I would hazard a guess that it would not be thick enough to provide a good shield. Shielding paint takes a good few layers to build up a decent shield (and it's still not as good as copper) and whilst copper adhesive makes for good shielding, remember that copper is a superb conductor compared to gold lead and [b]tin foil[/b].[/quote] True, but [i]aluminium[/i] foil also has excellent conductivity and EMF shielding. Use an aluminium foil that is marginally thicker than copper foil and you'll end up with the same noise rejection.

[quote name='keeponehandloose' post='1124454' date='Feb 11 2011, 10:23 PM']Thanks for the input folks input ,I should have mentioned that the final mix is in mono and the songs are 3 minutes each. We are going for a lo-fi sound overall but thats still an art in itself. all the recording was done using original ribbon mics from the 50/60s and no overdubs,we just want to retain the warmth of the tapes and avoid any nasty surprises. I think we may be able to get a test pressing but not get there for the cut.[/quote] As everyone has said, you [b]really[/b] need to be there when the cut is mastered. Not necessarily the whole band (and in my experience they don't want a whole bunch of people there), but someone who can decide what compromises are made at that stage. Getting a test pressing is fine, but if it doesn't sound how you had in mind you're looking at getting the thing remastered anyway and potentially repeating the process until it sounds how you want.

[quote name='steve-soar' post='1124345' date='Feb 11 2011, 08:52 PM']Porky's Prime Cuts![/quote] Wow. That's something I haven't seen for a loooong time!

Like you say, EQing can be done at the mastering stage and this is really an art in itself. You need to be there for it as much as you need to be there for the final mix - don't let anyone tell you different. The length of the songs on each side can affect the overall volume, though that's not really an issue of itself. It's the loss of dynamics that's more important. A good mastering engineer should be able to guide you through all this and get the best from the pressing.

Here you go, it seems the law in the UK has changed - [url="http://www.ukpayments.org.uk/payments_industry/payment_fraud/cheque_fraud/"]http://www.ukpayments.org.uk/payments_indu...d/cheque_fraud/[/url] [quote]At the end of November 2007, the banking industry changed the way cheques are processed to benefit customers accepting cheques. The change means that you can be sure that at the end of six working days (after paying in a cheque) the money is yours and you are protected from any loss if the cheque subsequently bounces or turns out to be fraudulent. This means that the funds from a cheque cannot then be reclaimed without your permission, unless you are knowing party to fraud.[/quote] On a side note, I notice they're withdrawing the Cheque Guarantee Card next June. Worth bearing in mind if anyone trys paying you with a cheque after this date because "you're guaranteed to get your money".

I really don't think there is a 'British Sound' as far as bass amps are concerned. Many manufacturers will try to create their own sound across their range of amps, but this doesn't seem to be based on any geographic preferences. Trace Elliot and Ashdown generally sound like chalk and cheese, despite the links in their heritage and coming from the same county, never mind country. In the guitar world American drive and British drive are often referred to, usually on modelling amps/effects, but these tend to refer to typical Marshall/Orange/Hiwatt sounds versus the more high gain, saturated sounds of the likes of Mesa and Soldano. Typical Vox or Fender guitar amps sound very different though. So while manufacturers have their own sounds, I don't think countries do.

I don't know if it's still the case but my brother in law (who's an accountant) told me that a payment by cheque is never 'safe', and cited a case where the money was debited from the receiver's account several years later.

[quote name='tom1946' post='1119719' date='Feb 8 2011, 06:40 AM']I think that loophole has been closed now Flyfisher, the bank has to clear any cheque after 5 working days. My manager told me that.[/quote] A bank will 'clear' a cheque within a matter of days but, as the OP points out, if the cheque is subsequently found to be fraudulent they will withdraw that amount from your account.

Could be almost any overdrive in there, but it reminds me of the ODB-3.

[quote name='lettsguitars' post='1117283' date='Feb 6 2011, 01:39 AM']we're not delivering eggs. i had a bass destroyed on the way to the usa, but for the uk, just stick it in a [b]nenvelope[/b].[/quote] [quote]protect the main areas. card between strings and fingerboard (no loose strings flappin around scratchin pups and that), protect the back of the neck, pad around the controls, basic scratch proofing on the body, maybe some padding around the nut, gig bag, bubble wrap, box (homemade). failing that, a [b]nardcase[/b].;[/quote] Am I missing something here?

[quote name='spinynorman' post='1117101' date='Feb 5 2011, 09:47 PM']The seller says the case has been used to store the bass and is included in the sale. If there isn't some further description, for example saying the case is "tatty but servicable", then surely the buyer is entitled to assume the case is in good condition and fit to be used as long term storage for the base. Like they're entitled to assume the bass is in good, playable condition unless stated otherwise. Buyers usually bid more for a bass that includes a case than one that doesn't, so it's not a nice bonus, it's part of the sale.[/quote] This is the root of the problem I feel, and the sellers poor communication in the ad. There was no description of the case and it may have been completely knackered even before it left the seller. To assume it's condition just isn't good enough, as there's no knowing what people may assume. If the bass had gold plated hardware would it be fair to assume the case also had gold plated hardware? Personally, if an ebay auction doesn't say an item is in good working order I'll ask. For all we know the case may have arrived in exactly the same condition as it left the seller, and to assume it was fit for day to day use without asking was an error on the part of the OP in my humble opinion. Having said that, the case was specifically included in the sale even though there is the suggestion it was to be used for the shipping (and it was just the merest suggestion). As such it should have had adequate protection. As for compensation, I've no idea what the OP has in mind - the cost of a new case could conceivably cover a wide range of price points. If the case was damaged in shipping compensation should be due, but how much that should be is a bit of a minefield in itself. The amount to cover a tatty unserviceable case, or to cover the kind of case the buyer feels it deserves (and had presumably assumed he was getting). And that's even when you get to the point of establishing what damage was actually done by the courier - if any. A thorny issue which serves to demonstrate that simple assumptions can cause a lot of grief and upset.

The Precision is the classic bass that perhaps best fits the description of the sound you're after, but like the Les Paul there are plenty of others about that will hit the spot and maybe even do a better job. An MIJ P would be a good choice and well within budget if you buy used, and if you decide it's not for you you'll easily be able to shift it for what you paid. The same applies to a US one of course, but an MIJ probably represents better value with no loss in quality.

Any idea of the dates it was reviewed? I've got a stack of old Guitarist mags.

Could be almost anyone really, depending on their role in the band. As far as the punters are concerned though, it's usually the singer.

[quote name='Vibrating G String' post='1113402' date='Feb 3 2011, 07:08 AM']Abe Laboriel has a super cheap Goya fretless that's seen tons of gigs and recordings. On guitar Jimmy Page used some cheap Sears catalog stuff.[/quote] Yeah, Page uses a Danelectro for slide. Talking of which, Fat Mike (NOFX) uses a Danelectro as well.

I bookmarked a [url="http://www.talkbass.com/forum/showthread.php?t=555678&page=2"]thread on TB[/url] ages ago which touches on this. It's really about Fender Japan serial numbers, but notes the recent change to Made in Japan and the previous use of MADE IN JAPAN (upper case) as well as Crafted in Japan. And, as has been pointed out, Marcus Millers and the 75 RI's have MIJ on the headstock and CIJ on the base of the neck - the jury seems to be out on exactly why they have both stamps.

Ed Friedland includes a cheapo Egmond in his arsenal. He describes it as 'fabulous'.