Cairobill

Lots to think about. Looking forward to getting hooked up

Ah fabulous. Thank you!

Thanks all - this is good stuff. I like the idea of filtering out the clatter!

My band is about to start making noise again in a live context. We're a three piece and I can happily hear all the noise from our amps/drums but I would like to have a feed of my voice into an in-ear (perhaps with a touch of compression and reverb) so that I don't over sing and get pitchy etc I can see systems costing a bomb and cheap as chips stuff but is there a reliable solution to just getting a feed of my voice that sounds even (and possibly vibey) in one or two of my lugholes? It would need to be something I could just setup in a simple rehearsal room with an el crapola desk and then take to stages of various sizes...is there something that works independently of the desk for instance i.e. taking a feed of my voice off the mic DI box? And if there is a solution, how do you choose to set it up?

I love a jazz at home and used to tour with a Stingray and a 70s J as a backup. Whenever I switched to the J the bottom end and any thump fell out of the band. I'm pretty sure it was driver error but it always struck me as a potential issue. Doesn't stop me buying them and selling them though!!! I love the sound for recording.

Threads like this remind me how much I need a P bass with old flats on it...argh gas

I think one of the Bass Gallery lot will turn up soon and hopefully answer that question! Such an amazing period for bass design.

I remember these days especially around '86 and 87'. I was there on quite a few Saturday mornings in that period. Always a fresh batch of shiny Jaydees, Smiths, Statii, Wals, Zons, Warwicks, Pangbournes, Wilkes and Steinbergers to play through a Trace stack. My eye was always drawn to the latest Status, Smith and Jaydee. Wals were fun but I recall them feeling old fashioned compared to all the serious graphite and US basses. Zons were rarer but amazing and I thought Steinbergers were a bit strange. Today, I would go for the Steinberger!

@Beedster that is a rare and funky bass!

I love the idea of some proper full carbon Steinies coming back into production but I am not convinced by fan frets. Having owned a Dingwall sixer I certainly won some but I also lost some and much prefer a straight 34inch scale six string. Let's have a 4, 5 and 6 at 34inch scale across the board please Mr Steinberger...

Another option could be that neon-purple 1991 soundgear S1000 in the classifieds. Skinny neck, quite the plumage and in your price range. Not trad, but pretty rad.

Given that secondhand bass prices are increasingly challenged these days I would keep an eye out for a decent and lightish MIJ Fender jazz that gets close to that price ball park. I've owned a couple over the years and always liked them more than any American standard I've owned.

🤔

There are so many great online resources for the 2600. This course is killer for a deep dive into what everything does...

I also had a Korg Odyssey (module) for a while before getting a Blue Marvin. They're both fab but the Korg had a particularly aggressive sound. Was a lot of fun tweaking the sync on that and recording the proceeds. The 2600 is obviously a more subtle beast as you say. Endless fun, I will get another one in the nearish future

I’m actually without one at the moment but I’ve owned a Behringer Blue Marvin twice. They’re brilliant!

Such a fantastic synth! Love mine

This knocked me sideways as a kid

Isn't he great! For me, his amazing cameo on Hounds of Love is sort of a European counterpart to Jaco's legendary work on Hejira. A spellbinding solo bass voice complementing a great female vocal. Astonishing stuff

That is an utter shambles...

@Mikey D no, not from this board. I was always a bit funny about the Bolt-on TRBs as I confused them with the less inspiring later versions. But having owned the Patitucci MkI this is essentially the same bass minus the ebony, bass clef inlays and gaudy top. But tbh you don’t need the inlay and top (and the amber is a marmite color). The rosewood board on these basses is beautiful and has a darker tone than the ebony so it’s not a lesser bass by any means. Really fabulous instruments.

I was a big fan of the Smiths when they were a going concern. If you had asked me why he was important back then, it was that he was represented empathy and a special concern for the shy/lonely/misunderstood etc and they had some great tunes....it was all good... But when he went and revealed himself to be an intolerant shithead, it immediately de-vibed the whole shebang. Sucked the fun. Poured piss on the bonfire etc He was too personally entwined with what made him 'good' I think. There are loads of musicians (writers/painters) etc who are loathsome personalities but their music is not bound up tightly with what they are like at home. With Morrissey, it's all mixed up. So the more he reveals his grimness, the more it devalues his work (Obviously the swan dive began in the early nineties as well...)

...I've also owned a Nash tele and a Nash jazz over the years. Neither was in any way remarkable as an instrument. Just weird how they go for so much these days