Lw.

Wow - zombie thread! People often start asking WAY too much for some stuff so it only seems fair that others offer way too little.

As others have said - bandcamp for direct, then pick an aggregator for the rest (CD Baby, Vidzone, IODA, loads of the MERLIN members etc...). Definitely do a CD. I would also do a band website, even if it's just a blog or something - lot's of people will appreciate it & I always find it better to control at least some of your online presence yourself.

2 x 15" + 2 x 10" in one box with the 15s angled up to save having to vertical stack (and look cool). I'm assuming this isn't possible but another fun looking thing would be to have a cab where the magnets are sticking out of the cabinet to make more of a display of them, like you often see with subs in boy-racer cars.

Depends on your bands sound I guess - have you got a link? Playing solid route notes following the chord sequence of the solos is incredibly boring to play but does work well in rock as it's a solid wall of sound for the guitarist to twiddle over. Pre-amps are good for sound sculpting though be careful about losing the mids.

Beef is never a word I associate with jazz basses, sure you can change the sound with pre-amps etc... but the core tone of the bass will still want to be somewhere else. Rolling the tone back 1/3 or 1/2 of the way and taking the bridge pickup down by about an 1/8th will give you the most it's got raw but then... I'd say you should either embrace the jazz as a tool for doing the specific sound they're good at or sell it & get something that's closer to start with. EQs/pre-amps are definitely a useful tool though - I'm very happy with my DHA though everyone has their favourite.

Though obviously don't let your imagination get the better of you in either situation - nobody wants to see you stop mid-riff at a gig with a "can I do that bit again?" or see you sloshing beer down the front of the amps in the studio!

Yes Warwick's are great for the heavy stuff! I'm in a similar boat with a corvette 5er but I prefer playing 4s so will be getting a Warwick 4 string at some point this year & there's nothing wrong with the shape of the corvette but I think you'd may as well get a different one if you can. The thumb does really cut through in this kind of music but they're not very good for playing sat down (for me) - not a huge problem but I'm quite lazy after a long day of work so often practice sat down at home. Streamer st2's seem to be popular in metal. Or you could go "out-there" with the vampyr! I'd really like an infinity but they hardly ever come up second hand & then they're usually 5 strings.

Still one string more than needed!

I couldn't risk saying whether the tonal difference is brighter or not but I would certainly say it's different. I think it's more about mass/resonance of the neck materials in general rather than specifically the bit you're pressing the string against/the bit the fret is dug in to - same theory as tone woods in the body really, I've got no idea which woods give which tone but if you took the exact same bass specs & build it with two different woods they'd sound different (though this could be the case with two bits of the same kind of wood but from a different tree).

I'd play it just for practice - playing live definitely shakes loose issues that you may not be aware of in rehearsals & it could be worth learning from - at least this way you're essentially getting a rehearsal studio for free. It's your gear so you're completely entitled not to lend it out, don't let others pressure you into it. Saying that; if you're the heaviest band you're probably also the ones that will push the kit the hardest so you're probably fine letting others use it so long as you keep an eye on things.

I will often try to support my local scene, but I don't think it should be an obligation - if anything I'm probably doing it for selfish reasons; I try to support the venues in town that put on good live music nights (often free entry) because I like going out for a drink & I like listening to live music - sure I could get the same pint elsewhere for less & probably be resting it on a cleaner table but I think if you don't support these places they'll go & I'll be left with something worse. This isn't to say I support lackluster pubs that do no work but get a band in every now & again - the night needs to be well run, advertised & at least have some artistic merit. Probably unfairly I generally give the mid-size gigs (£10-20 a ticket) a miss in my town though - I either go for unsigned stuff to see what's new or I'll travel into London to see specific bands I want to see as none of those kinds of bands come through town.

[quote name='CamdenRob' timestamp='1429169938' post='2748639'] Mrs C is insisting we go to Latte-tude this year... camping and everything. ... the things I put up with Then again she puts up with our living room looking like a guitar shop so I guess watching bands I have no interest in with a bunch of posh people in wellies is a small price to pay. [/quote] Latitude is actually quite fun once you stop thinking about it as a music festival & see it more as a relaxing weekend away with a few bands thrown in. For me it was all about the getting up late, eating nice food I wouldn't normally get, checking out a few comedians & plays during the day then seeing a couple of bands in the evening - all whilst drinking cider in the sun! There's a lot going on there that isn't music & it's set in a lovely environment (probably the nicest setting I've been to for a festival), it's also under the radar enough to not attract all of the Glasto twats or the hordes of school leavers that many of the other festivals get. I'm going to Reading Festival this year for no other reason than it's walkable from my house so I can sleep in a bed & use a real toilet every day. I'll probably also check out Marlborough Jazz Festival too as there's usually some really interesting bands playing & the pubs all do great ales.

Rehearsed at a different from usual place in Reading last week (can't remember the name but it's a the ropey looking industrial estate between the station & the Rivermead Sports Center) - one of the guitar cabs only had 1 (of 4) speakers working, the drum kit slowly fell apart throughout the night & none of the knobs on the bass amp worked - all of them just span round & round without doing anything! It was moderately clean though so that's something - thankfully we're back to the usual place (Rhoom) which is ok if a little cold.

Now that is a bass with character! Looks like you've dipped it on bleach, still lovely though.

[quote name='Drax' timestamp='1428667845' post='2743577'] Get him on here to justify it ! [/quote] Ha - could you imagine the hassle he'd get; "But you could have bought every single Harley Benton Deko available for that much - they're just as good"!

The bass & drum parts of hardcore/metal are often pretty self explanatory anyway so I'd do a full recording (inc tapped n drums) for one or two tracks so they know the sound you're after then leave the others as guitar demos & see if they're capable interpreting what you want. There's nothing wrong with being a dictator in a band if it's your project IMO.

I'll give that a go over the weekend - played around with my own settings at rehearsal last night & it was sounding awesome in a full band set-up!

Yes another win for customer service - they were brilliant when I dealt with them too (despite the problem being completely my fault).

Every bass has it's tone but there's no getting away from the fact it's the fingers that do the work - I've no doubt if one of those players played on my Warwick & Fender that it would still be easy to tell which was which, they'd both just sound miles better than when I play on them! Saying that Rockbasses are hardly bargain bucket basses are they? If you're paying £5-600 you'd expect it to sound good.

Not tried it & that PR thing they did the other week has pretty much made sure I never do; "we're the music worlds rich 1% but we need more money - you lowly poor person, pay twice as much for this service". The whole taking it back for the artists things seems like pretty flimsy marketing to me; every streaming service has to give away equity in their new company from the off to the majors and a couple of the indies just to get the music licensed, then they have to front all of the set-up costs before paying around 75% of their revenues in royalties (gross) - all this service does is double the money to the corporate giants. It's a personal choice as to whether you think the improved quality audio is worth it or not & I'm sure many people will but I think I'll stick to Spotify for now.

I've just got a DHA pre-amp/DI/EQ thing - I'm still messing about with it at home to find all the sounds it's capable of but so far so good! It's always hard to tell the full impact of something when you're just noodling at home so should be able to report back more after rehearsal tomorrow. Anyone got any favorite settings for the DHA they want to share?

Par for the course of selling things online or dealing with the public in general for that matter. I assume you posting this has been prompted by a recent failed transaction on here? Have you talked it through with them via PM first?

Played my acoustic at a gig last night - I normal just use it for messing about sat down at home but it works pretty well live (stood up) as the fatter body acts as an arm rest so it was pretty easy playing without an anchor point.

That's what I thought - fortunately my birthday's not for a while yet so don't really need to worry about it as I'm sure it'll be gone by then. If not I'll definitely be popping up to check it out (and a load of the other basses they've got).

Nice basses these - played on one in the same colour a while ago in Wunjos, felt really good in the hands - fortunately it was gone the next time I went in.