Dood

Thing is, if this chap was studying art, he'd probably get an A for it. It reminds me of the time that a whole bunch of students faked blowing their student loans on a huge holiday. They shared memories of their "trip" on social media and all of a sudden the news got hold of it and blew the whole thing out of proportion. Everyone was up arms with them wasting "tax payers money" and all the usual stuff that comes out about students being wasters. If only. I hope he's doing the same to show how easy it is to manipulate on social media.

One of the things that can often make these choices more difficult is whether or not the other musicians you are working with understand good stage (and FOH) sound practices. If you do not have the luxury of IEMs and your band mates are offensively loud (or should I say, their instrument volume is offensively loud. Though I knew a drummer who fell in to that former category...) then you may be having to attempt to negotiate with them or have to bring enough gear to hear yourself. To answer the OP, I have, like some of you above, a predominately IEM based rig for the gigs I am doing the most often. I do have a backline for the "other" occasions though. It's a modular set up that will sound superb and do anything from 'fridge rig' sized gigs down to the much quieter 'cafe gig'.

Totally agree. I have a pair of 4" from Hypnotic and they are of the padded types. You totally have my agreement there.

WOW! I think I still have mine too! Somewhere!!

@Tech21NYC tagged as they are on BassChat. Hopefully will see a notification.

Always been a fan of this babe

I can't help but to get a little giddy with excitement over Jon's headless basses! I think you are quite right to say you have your own template! I think your two have the most identifiable outline in the range surely!? (Don't change it for the next one, ok?)

For a brief time when things were really bad, I actually put my 7 string (Doodle as it is known) up for sale. I still thank so many who sent messages telling me not to do it. Who needs kidneys anyway, I have my flip-paint beauty still! (I don't look like that now lol)

Awww! Thank you! The original flip finish was pretty amazing, but when it went back for it's service (after 8 or 9 years active use!) it came back with the new crackled chameleon flip paint finish - and whatever he did it plays and sounds better than ever! My 7 string I think will be next for a service but no need just yet. Still going strong in to it's 10th year. Maybe nearer 11 I forget. Jon is a really nice guy; an understanding engineer who really knows his wood choices. I can't think of a better way to understand more about our basses, so I would recommend the course. Jon is a great teacher. Thing is though, now I know what he is capable of, my next two basses have already been planned... on paper at least!

Jon is an incredible Luthier. He has an attention to detail that is revered amongst his peers. His basses are beautiful and you aren’t alone with the dribbling that’s for sure. The Bass Players United page went in to overdrive when one of Jon’s Fretless Uberhorn basses was posted. Thousands upon thousands of likes and every single comment a positive one. Crazy! Anyway, from experience of lots of Jon’s basses, I’m afraid I have to tell you that you need to follow your heart, otherwise you’ll always wonder if....if.... Shuker is my bass brand of choice.

I suspect you probably know the answer yourself already, but there’s no short cut to hard graft. As a fan of prog and tech metal, the bass parts can be like the guitar parts you’ve described. It’s just a case of breaking up the piece bit by bit, even bar by bar. The very first ‘tricky’ (or what I thought was tricky at the time) bass line was a track called Metropolis Pt2 by some cheeky little prog band. I nearly threw the dodgy transcriptions out the window they were so bad. It took me ages! These days, I will use my DAW software or the likes of Guitar Pro to loop up sections of the song so I can practice them over and over with a virtual band. The loops will start with bars, then sections. Oh and most importantly.... slowly! Guitar Pro for example allows me to pull the tempo back to ensure proper technique in fast passages as well as remaining relaxed instead of tensing up when the tempo goes past 160 in 16ths or whatever. keep looping. You are moving sections of music from your short term memory to long term and I understand that from a psychological angle, repetitive well spent practice will enable this better than just staring at the page hoping it will go in.

❤️❤️❤️❤️❤️❤️❤️ and im not even embarrassed to type that a Beautiful bass right there! Gorgeous sound! Congratulations!

Rumour has it they need to change the company to just C Electronic now.

@The59Sound Yup, this is essentially me. I have a wonderful backline that sounds amazing, but for my current gig I only run a Line6 Helix via our desk and straight to In-Ears. I don't use any cabinet simulation but I have carved my outgoing sound with drive, EQ and a bit of compression. We then tweak the EQ per venue when necessary for FOH. I totally agree that whereas some IEMs are 'good', there is nothing like running something really nice in your ears through a stereo mixed system. Rocking up to a gig with a pair of basses and a gig box is pretty nice these days and I can be as loud or as quiet as I want to be in my mix and never upset anyone My one thing I make a point of when it comes to the way in which most bands do their IEM mixes (and by that I mean on a relative budget if it's not a Pro function type rig) is that many complain of feeling disconnected from the venue and audience when using IEMs that are capable of a large amount of attenuation of the ambient room sound. Think of it this way. The singer's voice in to the mic is being thrown straight to your ear drums without any sort of air gap that you'd have on stage between speakers and head. Same for the mic'd up guitars. The keyboards too. Drums, when on a budget may not have a monitor mix that gives a bit of space either unless there are enough channels to mic and mix the whole kit. (A luxury for some) So, one of the most important aspects for me is a stereo, realistic blend of the ambient venue and stage sound in to your IEMs. For me I can balance the ambient sound with my monitor mix and it sounds way more like the sound of the band on stage. Stereo because Mono just becomes way too congested (for me anyway) with a busy band set up. Oh and your ears aren't picking up in mono lol. I actually recorded a video about the subject ages ago, but since then I have upgraded my personal kit arrangement, so I am well overdue to do another. Everyone who has tried my rig has absolutely loved it! Definitely worth looking in to that as it can be a huge help to bring life back to a mix on a budget*. *By this I mean not having access to say a digital desk with effects and EQ on each channel etc. I will however be correct as said devices aren't that expensive these days in the grand scheme of things. I may come back and edit this as I typed quickly whilst waiting to teach my next lesson!

I once spent the best part of 7 hours in The Bass Centre on Wapping High Street. I bought so much gear from there including my first set of Hartke 4.5XL cabinets, a six string fretless Status bass, one of my Tobias 6 stringers and tons of hardware including EMG pickups.

Awwwwwww!!!!!!!! Heart breaking sight I feel for you! I can only echo but also at the same time confidently report that this certainly is repairable. I have a friend in the city here who has repaired completely decapitated Gibson guitars (as mentioned above) with completely invisible joins of original headstocks. So although a painful sight, whatever has happened can be reversed. Jon I am sure will be able to respond. I know that doesn't help the initial frustration and how you are feeling but hang in there; I have a bass in my collection that I love even more after a repair!!

I’m looking at these who suggest on the webbz that they do cover for damage and loss. https://www.directcouriersolutions.com

Did we ever find a courier that does actually cover the full amount for loss and damage? Mainland shipping.

Agreed on the SPB3 QP!

Yes, 1. Tell him to put the kick through the PA thus moving the source away from your amp. 2. Gating the kick through the PA can help to cut back on the ringing. 3. Using some sort of padding in the kick drum to stop the Res head from ringing can help if he hasn't done that already. 4. Effective EQ'ing (That you can not do with the TC head and 15" speaker. Taking in to consideration 4b. The kick is tuned well.