JamesBass

[quote name='acidbass' timestamp='1429107388' post='2748072'] Hi all, Simple question - does anyone use flatwound strings on their Stingray? Going to swap out my rounds for some this week. I use Thomastik, LaBella and Rotosound flats on other basses - but not sure they would be the most appropriate for a 'Ray? What ones do you use? Tone-wise, I'm going for a Bernard Edwards-style thud. All opinions heard and respected Danny [/quote] Nard used the strings that come on his Stingray I'm pretty sure! TI's would work well on a stingray imo

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There's plenty of amazing amps for sale in the for sale section. You can pick literally anything up - including my Ashdown CTM 300 all valve head or you can pick up a super lightweight mark bass head!

[quote name='Emanew' timestamp='1428137279' post='2738312'] For me, Burgundy Mist (better than Lake Blue) suits really well a Relic finish. Limelight does it well usually, not to reliced. And prices are clever. Tortoise or White ? Take the 2, you will change often and will have 2 basses in 1 Matching Headstock and above all Dots and binding, my favorite combination. Good choices [/quote] If Mark can only do the darker shade of BMM then I think I'd be more tempted by LPB, if he can get the lighter shade of the top pic the I'm pretty certain that's what I want, ok maybe about 85% sure haha

[quote name='Storky' timestamp='1428104695' post='2738216'] Love Shoreline Gold, I've also got Fiesta Red which is also great and I had Daphne Blue, which I also really liked. Of the two mentioned, i like LPB - i think its one of the best colours, both traditional and modern as it has the metallic finish. I'm less keen on Burgundy Mist personally, although i can see why people like it. I doubt i'm man enough to wear a bass in 'mist though! How about Sherwood Green (also a metallic finish) - looks great on my Jazz? [/quote] I'd love to see some pics of the Sherwood Green Jazz, it was a colour I had in mind but might have ruled it out too early now...

[quote name='AndyTravis' timestamp='1428103466' post='2738205'] My two favourites. Burgundy looks amazing with tort (I had a mexi classic FSR with dots, no binding) and parchment suits it too - but there are regular reissued basses out there. The LPB blocks and bound has also been reissued (had the us 75 reissue of this)... Go burgundy and blocks, mash it up, get stack pots and a transition logo - [b]ruin everything the purists want to see[/b] [/quote] Exactly what I'm kinda thinking. I wanna create the ultimate jazz combining all of the best features of its history

[quote name='discreet' timestamp='1428102198' post='2738195'] Shoreline Gold. [/quote] This is being saved for a future P bass

I've decided I want to get myself a Limelight Jazz bass built, and so far I've narrowed it down to two colours. Lake Placid Blue or Burgundy Mist. I'm planning on having a rosewood board with blocks and binding, a matching headstock, and a tort guard. So someone(All of you) help me decide!

I love the guys at CME! This video is absolutely amazing!

Not much of a foot tapper, but I do get my head and shoulders going, my guitarist thinks I'm trying to give him a cue half the time and is trying to train me to stop the head bobs, especially the heavy ones on pushes etc.

His work with D'Angelo on Voodoo and Black Messiah is just something else! The man is utterly incredible! His work with John Mayer and the John Mayer Trio is also fantastic! His feel and the little nuances in his player are just breathtaking at times! Worth checking out the Unidentified Flying Project on YouTube, it's Simon Wood-Harris' project and all the players are top session guys and naturally Pino is the bass player, well worth a listen!

Have you considered an Ashdown at all? I have my CTM all valve head up for sale right now in the FS section if you're interested? (I know, shameless sales pitch, but I REALLY want the funds to blow on my new rig, something we can all relate too! )

How are you with beat manipulation? I'm at the same stage as far as I'm doing a performance for uni very soon and I've got a range of influences to include and expand upon in my own styling and approach. I've focused on jazz harmony, improvisation, and groove. With groove being all about beat manipulation and the Jazz harmony aiming to get some serious chops in my playing! Improv is kinda tying everything together as I'm an off the cuff player and guy so it keeps me on my toes!

[quote name='D.I. Joe' timestamp='1427445188' post='2730368'] Thanks for the suggestions chaps. Because I like to use my tone, not the tone prescribed to me by the soundman, and also the sheer fact that the same is done for guitarists. Guitar speakers are almost always miked up to capture the overall sound of their rig, so why should it not be the same for the bass? Our rig works in the same way after all... [/quote] That's fair enough, was only a query, I share the same views as yourself though. Mic the cab up, we've paid lots of money to get the gear so let's hear it. But I also DI as well as micing, gives a better balance overall I find!

[quote name='D.I. Joe' timestamp='1427136056' post='2726281'] I'm looking for a suitable mic with which to feed the bass to the PA. I'm not a fan of D.I.'ing, despite my (seemingly witty at the time) username so I've decided that the best course of action is to come prepared with my own mic, rather than have to leave my tone entirely in the hands of the sound man. I have no idea where to start looking so any advice would be greatly appreciated. I don't really have a specific budget in mind, but I'm more keen to get good value for money than to spend top-dollar on unnecessarily super-dooper gear (I'm not touring the world's top arenas, after all...) Looking forward to your replies, thanks in advance Joe [/quote] Can I ask why you don't like DIing? As for Mics the go to answer will be an SM57, live engineers know how they work and sound, as Alex has said the proximity effect will counter the low roll off the mic has