Roger2611

47 minutes ago, EBS_freak said:

Custom IEM quads or UE6 or above. You'll never have any problems with fitment then... and if you think the 215s sounds great, prepare to get your thoughts on "great" rebenchmarked!

Thank you, I guess sounds great bit is subjective but understandable when compared to the standard fodder that comes with a cheaper IEM system, I am sure the Quads and UE6's will sound even better but at the moment I am in the experimental stage of does it work for the band to use an IEM system, can I build one for a sensible budget that will deliver what we need (I think I am about there with the system anyway) but if I cannot get them to stay in my ears it will be a short lived project, either that or I will be on stage with a set of closed back Sennheiser DT250's on my head!

Yes please:

Precision basses

Candy Apple Red

Lake Placid Blue

Olympic White

Bass Collection basses.

No thanks:

More than 4 strings

Thunderbird's

Jazz basses

Ibanez basses

Some of the really odd shaped exotica that comes up for sale from time to time

Anything that MDP has been anywhere near 

I have two Mesa Boogie Subway 1x12's which sit unused in the cupboard at the moment purely because my Markbass Traveller 102p sounds great and is so much more portable than the Subway's are!

I do miss the sound and sheer presence of my old Mesa Boogie 1516E but I don't miss having to lug it in and out of the van / in and out of the venue one little bit!

Hi all,

I know there are quite a few on here that use in ear monitors so I need some help, I have brought a set of Shure 215's which sound great......if I stand there with my fingers holding them in my ears, which as a bass player is not ideal, I have tried the different sized tips, odd sized tips, memory foam tips and, at best I can get a weak seal with little bass and the breeze of a gnat flying past will see them falling out of my ears so the idea of rocking out on stage with any level of confidence is currently nonexistent ....am I missing a trick or what?

Cheers Rog

Saw him support Theatre of Hate in the summer, it was hit or miss as to whether we could make the gig as Saving Amy were playing a festival that day, got there just as the support act started, having absolutely no idea who it was going to be....stood right at the front and watched him smash it on the bass......happy days indeed!

Best buy for me this year has to be my Bass Collection SB802 I have waited 30 years to find another one after foolishly parting with my first one, and despite a lot of electrical issues and ending up replacing the pre-amp I am really pleased with it.

Worst buy, undoubtedly an off white P bass body sold as solid wood and a in nice condition, turns out it is solid Balsa wood and whilst it resembles a Precision bass in shape nothing from a Precision fits it, not even one of the 15 odd  pick guards I have lying about fits it, it has been resigned to the corner of the studio awaiting next year's bonfire night.

I am still a fan of Elites on my P basses. On another thread recently I mentioned I had recorded the bass line for our latest song twice, once on a P with Fender flats and again with a P with fairly fresh Elites, I wasn't sure whether I liked the sound of the flats so decided to let the band decide which version they preferred so, with two identical mixes just one with the flats bass and one with the rounds....the band unanimously went for the version with the roundwound string bass recording.....so we now have a definitive answer!.....OK maybe not totally definitive but definitive enough for me  

Bye eck, some people don't half try it on!

I had a Blackstar HT20 set up some years back, I have to admit I was totally uninspired by it, in the end I brought a Fender Superchamp XD which I still have and record with, I guess it depends on whether you are a Marshall fan or a Fender fan the Blackstar is definitely more Marshall than Fender.

A mic clip is pretty small, I always have one in my leads case (knowing full well that if our vocalist broke theirs they would not have a spare with them 

It's all about marketing isn't it!

I have a (now much upgraded) Squier Mike Dirnt Precision, which is probably absolutely nothing like Mike Dirnt's actual basses, is it a decent bass...definitely, is it even close to the actual bass he plays....err no!

We supported Midge Ure a few years back and he went on stage with a totally stock, out of the box, Vintage V100MU signature guitar, so I guess in his case his signature guitar is the one he plays and we can buy one for under 400 squids and never sound anything like Midge does

It is an unusual bass, I haven't seen a bolt on neck with the scroll top before, I have the through neck version which is in somewhat better condition that the one on Ebay, it's a cracking little violin type bass but being hollow bodied, howls like a b'stard if the mood takes it!

I saw Bootleg Blondie last week with Clem Burke on drums, excellent gig and following that I have just put a set of Fender flats on a Precision and have recorded our latest track with them, not 100% certain yet I like what I am hearing as I usually record with as new a set of strings as possible so it has given me a different sound, I will see how it pulls together in the final mix.

I loved my old twin valve head, along with a Mesa Boogie 1516E it formed the best sounding bass amp (and the heaviest) I ever owned, I toured with it for years and it never went wrong GLWTS

Synth Restore.
1st floor,
57 Harpur Street,
Bedford.
MK40 2SR.
United Kingdom

Email: [email protected]

I used this guy for a full overhaul and service of my JX3P I really cannot recommend him highly enough, he clearly knows all there is to know about these old synths and he has a genuine passion for them, I was considering buying a PGM200 programmer for it, he showed me how to go in and edit and create the sounds without the need for the programmer.

This guy was excellent and I wouldn't hesitate to use him again

Rog

https://www.ebay.co.uk/itm/THE-TANK-BASS-Rare-Unique-One-Off/143415900949?hash=item216440fb15:g:GFAAAOSw5r9dqtQZ

I am struggling to think of a single occasion where I would think, "I wish I had that bass to hand now!"

I should have played piano, my mum was a recorded concert pianist and tried desperately to get me to take it up as a child...of course a 5 year old me knew far better and resisted all attempts to teach me, I was forced to learn the basics but nearly 50 years down the line I play and record all the keyboards for our band and I really wish I could play like my lad can (my mum taught him from the age of 3) I still love playing bass but with such an accomplished and free teacher on hand I could and should have achieved so much more......please promise you won't tell my mum I would never hear the last of it!  

I love the way they have cleverly managed to hide the puppet strings 

Lovin the refin on the P bass, it looks fantastic GLWTS

1 hour ago, Crawford13 said:

I agree unless you have a well treated room avoid mics. DI’ing straight into the desk / interface theN using plug ins in your DAW would be my suggestion.

Close mic'ing to a decent cab should negate acoustic issues in all but the worst rooms and mixed nicely with a DI signal should give perfectly adequate results for what is going to be a "bedroom" studio recording, I would tend to agree with "Jus Lurkin" it sounds like the issues are more likely to be either too low a signal at the recording stage or something in the mix?

I use an MD421 mic 3 inches (or 1 inch from the grill) off the centre of the cone of my Markbass 112 cab in an untreated room and a DI signal from my Ampeg B1 which has been giving fantastic results.

Mixing wise I will often duplicate the DI track and add just a little distortion to the track and sort of hide it behind the clean track on the same pan setting, a mix of the 3 tracks is what I use in the mix.....probably not the right way to do it but it gets me the sound I want 

Not tried the latest Fantom but our guitarist has an earlier version which is a massively capable bit of kit, probably far more capable then he is at getting the most out of it, despite it's undoubted abilities we still use Reaper as a recording DAW as it just has far better visibility and sounds wise my System 8 supplies all of the keyboard parts.....is the new Fantom worth £3000? Possibly, but at that price it will always be appealing to a limited market.

3 hours ago, WHUFC BASS said:

Ha ... I had one of these back in 1982 as my very first amp. They're truly terrible and as he points out, almost useless for bass. They fart and distort and quite low volume levels and really don't offer much at all in the way of good tone. The £250 is ambitious to say the least. These things are worth about 50 sheets top whack, certainly no more and I'd discourage anyone from buying one. They were crap back in the 80s and they're crap now.

 

The only thing it's useful for is hurling at the singer's head when they ask you to transpose a song into another key because "they can't sing that high / low" whilst they try to get a pair of headphones over a cowboy hat (this actually happened!).

They are also pretty good for setting your mates bedroom on fire! I had one and sold it to a mate when I brough a Carlsboro Cobra 90 bass amp, he had it for about 3 weeks, apparently he left it on, went downstairs to grab a drink and by the time he got back it was burning away nicely!

I have just had a look through the first 7 pages of his online store, yeah, there is certainly more desirable items on sale but everything looks way overpriced to me

I thought it sounded like the 1980's Galaxian arcade game?

Shelling out £2200 on a Gibson 335 custom shop, then discovering I just could not get on with the sticky feeling nitro neck, gigged it twice then traded it for a brand new US Strat which turned out not to be as nice as my bitsa Strat so sold on again for a further loss, I reckon that in the end I managed to end up trading the 335 for a sherbet dip!