AutomaticWriting

Hi all, Does anyone know a decent company that does Pedalboards with Flightcases that have wheels? I've found a couple but the boards are never big enough, going to be needing something around the size of a Pedaltrain Pro. Am I right in thinking the original pedaltrain pro flightcases had wheels? I can't seem to find any online... if anyone can recommend a company or place where they're available you'll have my eternal thanks!

Played a Flea Jazz Bass in Guitar Guitar Camden today and was blown away by the sound and feel of it, even despite the really high action Fender seems to be shipping these with. Also tried out a Squier Classic Vibe 70's P Bass and was very disappointed compared to the classic vibe guitars I've played and owned before. To be honest, I didn't feel like Guitar Guitar had the greatest choice in the world when it came to basses. Especially not in the MusicMan Range. Still searching... this bass needs to end up being "the one" haha.

Cheers for all the suggestions! I'll keep them all in mind. Aesthetically the Flea bass is more up my street than any of the others. I really love the shell pink finish despite not wanting to have the same relic as everyone else (I'd probably change that up a bit). I do also really like that Fender Deluxe P Bass Special someone suggested. Hopefully I can make it to Andertons this month to go try out a few as unfortunately not many of the Denmark street shops seem to do finance deals (I'm a poor student haha.)

So I'm undecided on buying one of the following... At the moment I'm playing more pop stuff so I need something that will cut through the mix live but also be suitable for most recording applications, I've been borrowing both a 5 string and an late 90's / early 2000's 4 string Musicman Stingray, whilst the action was awful on both of those basses (not my setup), I could tell if set up correctly they'd be a joy to play and they sounded fantastic, they really blew me away. I've only had the chance to play the Flea unplugged a couple of times, one was set up a bit better than the other, but the neck just felt "right" to me straight away. I really don't know what to go for, the flip side is I could buy a sub ray and/or a classic vibe jazz bass... then reinvest the rest into my pedalboard. So I have four choices basically. I haven't had a chance to play either the classic vibe or the subray but I've seen both in person and they looked well built. Seem to have good reviews online too. Flea jazz bass Musicman Stingray Sub-Ray + Classic Vibe Sub Ray or Classic Vibe + Pedals. Any suggestions?

Besides unfortunately Wunjo's don't do finance (which is completely understandable). As a student the finance options from people like Andertons or GuitarGuitar is always useful for me... otherwise I'd have had that one in a shot!

[quote name='stingrayPete1977' timestamp='1484556062' post='3216199'] Has he signed it? [/quote] Nah just picked it up for a photo I think.

[quote name='simonlittle' timestamp='1484235793' post='3213830'] I just picked up a beautiful second hand one from Wunjo's on Denmark Street. Absolutely beautiful instrument. They had a new one too but this one just felt right straight away; guess whoever bought it previously had it set up really well. Plays like butter... [/quote] Nooooooo I was going to grab this one haha. Was going to go for the one Flea was holding but couldn't justify the extra money just because he had held it for a picture haha. (Despite being a hardcore RHCP fan).

[quote name='Musicman20' timestamp='1484215030' post='3213531'] I've no idea on how long the production run is. Andertons had some in stock when they released the video. I don't think they would market it and demo it unless they could order some more in, but who knows. I would personally jump on one if you can. They will no doubt be subject to yet another price rise soon. [/quote] I actually spoke to Lee Anderton the other day, he said he doesn't actually know himself and that it very well could be the case that it will just be a short limited run. GAK told me it had been discontinued already. I don't think anyone knows...

[quote name='Musicman20' timestamp='1483975793' post='3211588'] It's far far FAR away from a normal MIM. Reasons: - Paintwork/colour/worn look/nitro, - American-made Pure Vintage ’64 Jazz Bass single-coil pickups, - V/V/T/T, - I presume some sort of vintage spec neck profile, - Tort guard, - Feel and weight. Mine, as I've noted above, is such great bass. I like my MIA American Standard Jazz, but I think the more growly/vintage spec pickups and different feel of the bass makes a huge difference. It is a very rare colour.... [/quote] Hmm I meant just in terms of overall quality / price point, point of view. Thinking about it I'd probably rather go Squier Classic Vibe than a MIM Standard... Either way I'll probably end up with one of these Flea basses somewhere down the line haha.

I've played a couple of these unplugged and thought they were lovely, the neck feels perfect to me. However I'm facing a dilemma, I'm aware that they're very different basses but So I was thinking quality wise, is there a lot of difference between the Flea and a MIM standard? I've played a MIM a few times recently but I haven't had long enough on either to think which I'd be happier with, the thing that puts me off with the Flea bass is the price. It seems a lot to pay when I could probably get a MIM standard for £300-£400 second hand and upgrade it... Any advice from Flea jazz owners?

I need a new main bass, currently fighting it out are the new Fender Flea Jazz bass, a MusicMan Stingray or an old Yamaha BB1200. Probably going to be more out of the first two. I also need to overhaul all of my rigs, tidy up my pedalboards, swap out a few pedals etc.

For the more Pop stuff I'd ideally like to be running this in the new year... might swap out the chorus for something else, still undecided on whether I'd rather have the EHX Fuzz or the Wren & Cuff Tall Font Russian and the tuner would either be the Boss TU2 or a polytune2 black.

I normally use a microkorg (or any midi enabled keyboard) triggering a variety of synths within logic such as NI Massive or when using Ableton, I use the drum racks assigned to the keys on the keyboard to sample/trigger the stems from the studio version. (It saves on CPU when performing live to do it the sample way).

Seems so, I've noticed at least in the guitar range recently that two of the best classic vibe Strat's they make have been discontinued, also noticed a few of the best basses they do (again classic vibe series) have been removed from the Fender / Squier site. To be honest I can see why, to me at least they're better than most mexican Fenders I've played and on par with any American I've played (playability wise) so maybe Fender feel that they are a threat to their "higher" end products? Didn't they feel that way about the 80's Japanese Squiers that now sell for ridiculous money? It's a bit annoying, I love Squiers a lot, so I was hoping Fender would expand their range instead of removing a lot of it.

Squier basses really are fantastic in the Classic Vibe and Vintage Modified range, the bassist in a band I used to play drums in had a CV, it was beautiful. I also say that when it comes to guitars the CV strats are my favourite strats by far, even against Fenders. The Tele I own is also one of the best guitars I've ever played. I'm gassing a bit for one of these now or just a CV Precision... What are the pickups like OP?

I've seen them twice now, 2011 and in Glasgow last Thursday, both amazing gigs but I can see how much Josh has really improved! A mate of mine managed to get back stage passes three times so far and hang with the band (mainly Josh) which is pretty amazing albeit I am very jealous! My only complaint is set length, for example The Cure played a three hour set when I saw them and the ticket price was nearly 1/3 of what I paid to see RHCP.

Hey guys hopefully I can reply to all of these in a concise manner haha. So I'll answer a few things, I really appreciate everyones input, it's definitely made me look from a few different perspectives. Okay so I should point out we are all at university together and will be for the next 3 years. I don't think I've done anything unprofessional, I was available 24/7 for the singer, the only deadline I missed was one that wasn't even important and I missed it due to doing other things for the singer and having to do my university work because it was exam week. But other than that I've pretty much done everything for them. The setup was I'd be handed some chords played roughly on keyboard and a rough vocal part. Then I would chop this up, re arrange the song how I saw best, say what worked, what didn't, then after this I would produce the entire song and wait for a vocal part. After which it would go to rehearsal where we would work out a live arrangement for the song, again normally left to me. I'm mainly a bit gutted because I haven't played bass in a band before so I was very excited about finally getting a chance and whilst I'm not the greatest bassist to walk the earth I don't think I'm bad either. The songs were pretty straight forward pop numbers anyway. I think I will just move on, there's been a few strange decisions with this singer recently not just involving me. So I think it's probably best if I cut my losses and move on to the next project, I have a few other artists on the radar that would be interested in working with me so hopefully there's some light at the end of the tunnel I hope this thread actually helps some other people who will go through the same issue! I don't want it to just be me complaining... Cheers

It seems a couple bassists in the pop circles are switching to Laney, I've recently seen the bassist for Foxes (Charlie Fowler, amazing bassist) and Rudimental's bass playerusing Laney amps and appear on the artists page. Perhaps they're on the comeback with a new target audience in pop musicians?

Nah I didn't mean I want to take back their songs, that's cool, they own the lyrics etc but I meant I wouldn't allowed them to use all the production work I did (it was mainly an electronic song), so they'd once again be left with the original demo that they sent me.

Anzoid - Yeah that's the thing, I considered them a friend and they apologised for the first rant, which I got because even though I was annoyed they had this big gig coming up, so I let it slide after the apology but this is a step too far. As far writing goes, they wrote the lyrics and the chord sequence but I created all the sounds and basically the entire song from scratch so they'd essentially be left with a chord progression and some vocals for the two songs we worked on together. The rest of the track ideas were entirely mine and haven't had the singers input yet.

Thank you so much guys, you are all legends! I need to hear some of these responses. I feel like I should make my point to them again, when I was told in person I discussed it for a little while and then left (I genuinely had things to do as well as being angry). I don't really have an ego and in no way would I say that I'm an amazing bass player but I'm not bad or anything, I know that if given a chance I would be up to it. This isn't the first time I've considered them ungrateful, I got complained at and ranted at for not having a demo ready by a certain day despite the singer knowing It was exam week and that I had a lot of university work to catch up on because of putting it off to work on their tracks. I should add to all of this that I have done all the production, playing bass, playing keyboards and helping them with marketing for free because we were friends and it was in both of our best interests to gain experience from it. I feel if I continue in the production role that I should now start charging or just quit all together like some of you have suggested. I will copyright my recordings before doing this which would mean that they can't use any of my production work or ideas without my blessing. I'm just a bit stuck because I'm pretty new on the scene and would like to get into MD'ing and being the "backing guy" who plays a variety of instruments onstage, so I kind of need the name on my portfolio but at the same time I know I'd dislike myself for allowing myself to be walked all over... Again thank you so much people, you've made me feel a lot better about it!

Okay so recently I've been playing for an artist who shall remain anonymous. But the basics are that I have been producing their studio work and then putting together a live arrangement for them as well as playing bass. I have worked night and day, tirelessly for this artist and putting off all of my own university work to help them out. It was all going well playing live in a few university things and the band were feeling really good. We then got the opportunity to play at a very large venue (which again shall remain anonymous but it's a chain of venues in every major city, you can probably figure it out). Unfortunately due to commitments made over 6 months ago I couldn't play at this event (it was only one song). So they hired in a stand in guy. I had a meeting with the singer to talk about moving forward as well new plans for the future and I was told that the singer wants to replace me with the stand in guy. The reason? It felt good playing live with him and he played a couple of your parts differently. I should add at this point that this is the first real live outing of the band and we've only played to various lecturers beforehand, so I haven't even had a chance to show what I can do at a real gig. My defence being that due to the deadlines of these assessments coming so rapidly to play in front of lecturers that I didn't have a lot of time to work on bass parts due to having to also produce the track, so I largely kept it the same as the synth bass parts played on the studio version as to not confuse the band. We had around 4 assessments and auditions in like 2 weeks and I also had to produce all of the other instrumentation as well as mixing the track. I feel like I have been unfairly treated here as whenever people heard us play I always got compliments and I don't feel like I've put a foot wrong. The opportunity to play at the "large venue" wouldn't have even happened if I didn't work night and day over a weekend to take a demo that consisted of solely a few chords and some rough vocals into a fully completed demo quality pop song with completely re recorded parts and new production. I feel like I have been stabbed in the back a bit here. I have been offered to keep playing live with the artist doing "other things". Should I quit all together and not do the production anymore either? Or should I stay? Sorry if any of this is incoherent or my grammar is poor. I think you guys will understand when somethings got you worked up that it's hard to type properly haha. Cheers.

Just bought a Boss CEB-3 off of Bassbicuits. Pleasure to do business with. Good item price, quick and safe postage, couldn't have asked for more! Cheers!

Thank You people ! Merry Christmas ! [url="http://basschat.co.uk/index.php?&app=forums&module=extras&section=legends#"][/url]

I'm a fan of the more darker bass sound and I have a Fleabass (designed for the complete opposite), I've finally managed to get the sound I like out of it but it's time to change my old strings as they are really dead, buzz loads and have hardly any sustain at the lower end anymore, they've been on for a year and a bit. I was thinking maybe some flatwounds as my college has a MIJ Precision with them on and although at first they felt a bit weird they began to feel kinda nice to play. I was unsure if these are a bit warmer/darker sounding than roundwounds out of the box or if they just sounded this way because they've been on the college bass for a while. Which set would you guys recommend as my bass is 3/4 size ? I did see some D'addario's and I use them on my guitars but I have no clue if their bass strings are any good. Not meaning to hijack the thread btw ! Thanks