SubsonicSimpleton

Depends what sort of bass it is.

Check your EQ settings - there is a lot of boost on tap, along with the speaker killing 'features' that ashdown build into their amps (deep switch, sub-harmonic generator) which can sound good at home practice levels, but add so much bass to the signal that once you crank the volume up to the sort of levels you need for gigs and rehearsals, the speakers will be farting out and getting damaged. For band use I find that turning off the deep switch and sub-harmonic, and applying some cut to the bass EQ, and bumping the mid and low mid slightly gives good results on my MAG 300-115 combo. High levels of volume at the fundamental frequency of the lowest notes are unnecessary, most of what we hear is 1st harmonic and above on these notes anyway.

Hang on a minute, I thought that looping or other forms of layering was NOT acceptable. http://basschat.co.uk/topic/277810-alternative-composition-challenge-idea/page__st__60__p__2966219#entry2966219

Go down the market at closing time, get a couple of boxes of the rotten veg they are chucking, fill an empty guitar/bass shipping carboard box with it, tape it up nice and secure/airtight and hand it over to the 'agent' with a smile when they collect it. If annoying companies spam you with junk containing prepaid envelopes, posting back a couple of banana skins can be quite persuasive in getting them to remove you from their mailing list.

edit:didn't read thread properly, nothing to see here

I don't suscribe, and only joined soundcloud to enter the noodle comp a month or so ago. If you are logged in, you should see along the top of the screen(left to right) home,collection, search box, upload, username dropdown menu, bell, envelope, three dots. Clicking upload should take you to a new screen with a big orange 'pick a file to upload' button in the middle of it. When you upload a file, it takes a while to upload and then another while to process. If you can't access this basic website functionality, then maybe the problem is an issue with your browser (or a plugin) - I use noscript, and have to remember to enable another website other than soundcloud for the uploading process to work, otherwise it stalls during the upload process.

Suppose it depends on what sort of colouration you want - some speakers really add a lot to the sound when they start to get to the cone breakup stage, you can never really get that from any sort of EQ. If you want particular dips and peaks in the frequency response, that's a whole different ballgame, and how the EQ bands line up with the cab response anomalies can be great, or in some circumstances just unworkable because you can't adjust the offending frequency sufficiently or end up messing somethin else up. If you haven't already tried it, maybe try going into the FX return and experiment with the different amp/cab sims on your 60B - the frequency responses of the zoom sims is well documented, and if you find something you particularly like it might be useful to point you in the direction of what you are looking for (or might offer you a solution you like with what you have already).

If you are used to hearing how a Schroeder delivers after using one long term, have you tried adjusting the EQ with a big bump in the mids to compensate? It's not clear what amp you are using, but over on talkbass, Francis Deck (who makes the fdeck pre) used a frequency analyser on the preamp of the GK MB200, and discovered that it can deliver a flat response, but this doesn't occur with the EQ set 'flat' on the amp (i.e. all knobs at 12) - IIRC flat response on the GK happens with contour off, bass and treble at 12 and both low and high mids boosted to 1 or two oclock. So using 12 noon settings will be giving you quite a scooped sound with a flat response cab(assuming all the MB heads use the same tonestack). I don't know how pronounced the mid hump is on the Schroeder cab that your ears are used to, but if I were in your position, I would be much keener to experiment with the mid controls on the amp a bit more before jumping to the conclusion that the cab needs to go.

Go to jam nights or open mics and meet people in person, old fashioned bit of paper on the noticeboard at local rehearsal facilities.

Ability to put ankles behind ears maybe?

It is possible to recreate this pitch change at will on my bass (which is strung with spirocores) - if you start bowing a note over the end of the fingerboard using some vigour and plenty of weight, and then slide the bow down the string towards the bridge (while continuing to draw it across the string) the note will change pitch and return to its original pitch. On my bass it's really easy to do this on the E and A and gets progressively more difficult to cause on the D and G strings - I discovered this by accident the other day when sitting down to practise when I was really physically tired, and I was slumping forward involuntarily while playing, noticed this pitchchange happen once and figured out how to recreate it. I'm not really sure exactly what causes or enables the pitch change - I suspect that it has something to do with the bow crossing between the vibration nodes and antinodes on the string, and when the bow is precisely in the antinode where the string has least amplitude it allows the weight you are putting into the bow to depress the string slightly bending the pitch up, but when the bow is on a positive node the energy in the string resists the pressure being applied by the bow hair.

Can't beat tele bridge pickups in the neck position IMHO

The arco idea I had has proved a massive PITA to get right, so here is my last minute substitution. https://soundcloud.com/user-623375481/bossa-doodle

Can you put your finger on what your current jazz lacks?

You could try getting a bowl of hot water (as hot as you can stand) and a bowl of cold water (as cold as you can get it) and put both hands in the hot till you can't stand it any longer, then put them in the cold water until you can't stand it, rinse and repeat until the hot and cold are both getting near body temp. Really gets the circulation going and the joints moving - I find it really helps with post gig/practice aches and pains. The cost of this super hydrotherapy treatment is a couple of washing up bowls from Wilkinson, and it is well proven for injury rehabilitation.

Save your money, the stock hardware on CV basses is decent quality (or at least they are on the older Pino CVs - mine is 2010 and I have no complaints about accuracy or stability when it comes to tuning). Personally I would only consider swapping them out for something like Gotoh Resolites for weight saving purposes. If you are having issues with the tuning, make sure that it isn't being caused by the strings not being fitted properly and stretched in evenly (which can be an issue if the previous owner didn't stretch them in even if they have been on the bass for months). Apologies if this is statement of the obvious. This topic has been discussed before in this thread http://basschat.co.uk/topic/265683-squier-precision-tuner-upgrades/

Just a suggestion, but do you have the means to run an aggressive high pass filter or any EQ on the monitor feed coming from the desk? It won't magically transform your cheap monitors, but if you can clean the lows out of the signal they are getting they will work more efficiently and not be contributing to mushiness in the sound on stage which should help them cut through much better without running out of headroom so quickly. Might also be worth trying the rumble filters on the mic inputs at the desk (assuming your desk has them and you are not already using them). If you can borrow a 15/31 band graphic or decent parametric EQ to experiment with at rehearsal, you might be suprised at the results - lots of powered monitors have built in EQ in a basic format, but it is not really up to the job.

Go for a lesson with a good teacher, they will be able to look at all aspects of what you are doing, and all aspects of the bow/hair/rosin/strings/bass and identify what the problem is - a while back I was getting frustrated with playing on the E string in general and failing hard at portato on the A and E string and thinking about getting a bow rehair or changing strings, and my teacher immediately identified the problem was that I wasn't using enough rosin, a youtube vid would never have helped in that sort of situation. With regard to getting a good sound, it takes time - my arco sounded like randy cats having an orgy on a set of broken bagpipes while a couple of sealions with tourettes cheered them on for at least 6 months, it's taken over a year to sound reasonable on a consistent basis on material that isn't pushing the boundaries of my technical abilities. If you really want to do youtube, Jeff Bradetich, Mark Morton, Gealen McCormick, Barry Lieberman, Lauren Pierce and Geoff Chalmers are all worth checking out - there is probably more available that doesn't spring directly to mind right now.

Yamaha THR-10 and PJB double 4 might be worth investigating if you want an amp specifically for low volume use.

Thanks very much for sharing this clip, it inspired me to hook up the line out of my H2N for realtime monitoring purposes for the first time ever and triggered a lightbulb moment. I'd been researching the various LDCs and mic pres, but it never occured to me to try using everyone on cans with the H2N, rather than slapping it down with the gain adjusted to avoid clipping and hoping for the best (which to be fair produces pretty decent results). Gotta be worth the cost of a headphone splitter amp to see how much more finesse can be introduced on balance and stereo image placement with the H2N, room acoustics and musicianship is a different matter of course.

[quote name='Beer of the Bass' timestamp='1458684539' post='3009920'] -Make it a bit of a mission to find some new music and players to listen to in the hope that something gets me enthused -Seek out the right teacher to give me a bit of a boot up the bum (in a friendly manner, of course). -Blag my way into some sort of new musical situation, especially one which is slightly over my head. This sounds silly, but has worked for me before! [/quote] These three options are IMHO the best choices - if you have a good teacher you still need to self study, but the input of an objective third party guiding the direction of that study can really make a big difference to how effective it is. I would suggest that you seek out and listen to music outside your musical comfort zone, as well as inspiring double bass players - maybe something like a bit of Ravi Shankar for example will give your ears and mind something new melodically and rhythmically to stimulate the synapses, and if you try to translate ideas from other instruments and styles onto your instrument, you'll certainly not be listening to the same old, same old, in your own playing. I know you have stated little interest in orchestral music, but it wouldn't hurt to go check out some local rehearsals - amateur orchestras can vary quite a bit in terms of the music they tackle and how relaxed they are, if you want a ready solution to be in a room playing music with musicians who are passionate about music and in many cases quite badass within their skillset I wouldn't write this off as an option. Check this list out, Edinburgh has plenty of variety happening; http://www.amateurorchestras.org.uk/oscotlan.htm I didn't have any interest in orchestral playing until I checked out my local community orchestra, so YMMV on this.

Have you tried playing in front of a mirror to observe the problem?

Sliding shapes up and down the neck without really knowing what notes you are playing beyond maybe the root of the pattern is one of the big pitfalls of guitar/bass, although this easy transposition ability has practical advantages, it can also impoverish you as a musician because it allows you to skip past a lot of essential basic knowledge. The first thing you really need to concentrate on IMHO is really learning the notes on the neck - advanced concepts are built on basic building blocks. Halfass the foundation and the house you built on it will take longer to build and be structurally unsound. Try this; Play open E, sing it and name it; Next find all the E notes one octave up - 12th fret E string, 7th fret A string, 2nd fret D string - play, sing , name Next find all the E notes up another octave - 24th fret E, 19th fret A, 14th fret D, 9th fret G - play sing , name Next up another octave (if you have enough frets) - 21 fret G repeat the process descending from the highest available E to the lowest. Once you ingrain this, you have a solid grasp of where you can find the note E, should you need to play it in any context such as root note of any type of E chord major third of C major/dominant/aug minor third of C#minor/dim perfect fifth of A chords major seventh of F major 7 minor seventh of F#minor7,F#minor7b5,F#dominant7 etc etc etc Take the exercise with E and apply it to F,F#/Gb,G,G#/Ab,A,A#/Bb,B,C,C#/Db,D,D#/Eb as well - might take you a few months to really ingrain it, but it is an investment that will pay massive dividends in the long run. If you restrict yourself to playing just the root and fifth of each chord when playing a bassline, you'll have an average choice of 14-18 notes for each chord if you really know the neck, as opposed to the basic pattern of finding the fifth same fret string below or up two frets and one string up.

Sounds a little bit too cheap IMHO, considering retail price, availability and how new to market the D800 is, I'd be thinking that it's either nicked or faulty at £450.

Isn't it just easier to sing it - or am I completely misunderstanding what you are asking?