Musicman20

I can 'hear' a bass line / guitar part / even sometimes vocals and drum paterns in my head, usually way before I pick up an instrument. Then I'll try and get what I can hear into a part of a song. The brain is a strange and fascinating organ. I still find it odd that I can have essentially a 'jukebox' in my head if I know a song or album well enough. Totally off topic.

[quote name='bassman7755' timestamp='1396871114' post='2418122'] Theory isn't really a set of "Do's and Dont's", but rather a way of recognizing underlying patterns and structures. [/quote] I recognise it is a very valuable and intrinsic part of music, but for me, and maybe this is my rebellous side, I spend far too long reading about legal updates and I have done for about 8 years now, so to be honest, I don't have time to get to grips with music theory. Music to me is a stress relief. I'd rather just learn more on 6 string guitar and write more music.

Heck. Three times??? Something isn't right here. I can imagine this is very frustrating. I ordered a Genz cover before Xmas from a cover company, and whilst it was sorted out, I had to give them new dimensions and explain what was wrong as the cover was far far too big. It got sorted in the end. I'm shocked they haven't just sent you a brand new one. At this point, I'd get a refund. £75.00 is a lot of money for a cover...so it needs to be right. Agreed - the Aguilar covers are the best in the business.

[quote name='mcnach' timestamp='1396860120' post='2417927'] Highs missing from the BB2? That's one thing I can't imagine saying about it. Or our definition of highs is very different. I feel my BB2 has a LOT of top end, should I want it. Or tehre's something wrong with yours? Can you get those highs you seek from your amp using a different cab? I used to have a RH450 and it just did not have the highs, so no cab would give those to me and I ended up letting it go (for other reasons, but this was a factor). I have not tried the Streamliner, but I hear it's very "old school", so I wonder if it's not the amp that's just not designed for the sound you're after. I chose the Shuttle 9.2 over the Streamliner, without hearing either "in person", just on videos, precisely because it seemed a bit on the dark side for my taste, from all descriptions. As for the horn control... it is a funny one. I have experienced two BB2s, mine and somebody else's prior to buying mine. The effect is subtle. The 12" driver gets fed all of the signal when the horn is turned off, and it seems quite capable to reproduce a significant amount of high frequencies. As you turn the horn on, the voicing changes, and you get some more highs, but the effect I hear is more of a voicing change rather than a clear increase in top end. The guy who let me try his first also was surprised by it and at first he thought it was faulty, until he started testing it and realised what it was doing. I recall he said Alex told him that it's like a dynamic crossover, so as you turn down the horn, more high frequency content is fed onto the main driver... and as it's capable of reproducing quite a bit of top end, you don't cut the top end as you do in some other cabs. Of course, if the top end is not there in the first place, the horn will have absolutely no effect... I suspect I would not hear much of a difference, if at all, with my old RH450, as it just did not have much top end at all, regardless of what settings I used. If the Streamliner is voiced similarly, that could explain what you hear (or don't hear). What cab were you using before with the Streamliner that you were satisfied with, regarding the top end? edit: sorry, you already mentioned it, the Epifani UL2 112. I have no experience of that cab, so I can't say anything. But I would consider the BB2 to be rather bright (not necessarily the brightest, but the first thing that struck me was its clarity and top end)... Maybe it's wrong, or maybe it's not what you want. Is there anybody close to where you are with another BB2 that you can test? I suspect in your situation, I'd probably just return it... no point keeping it if you don't like it, but I'd try to talk to Alex first in case there's something wrong. If the cab is ok and you just don't like it, I don't think you'd have much trouble selling it later with a relatively minimal loss, as people are often happy to pay a bit over the odds for a used cab, and not have to wait 2-3 months for a brand new one (if in good condition) [/quote] Just a quick snippet of info for the thread. The Streamliner has a lot of top end sheen and snap, if you want it. It can sound very crisp, modern and clear if you want it to. There is either a fault with the cab or they just plain don't like it me thinks.

[quote name='molan' timestamp='1396817371' post='2417711'] I was told the other day (by someone connected with Warwick so I've just assumed it's true) that there are no UK dealers selling German made Warwicks any more I've seen a full 2014 price list and I was genuinely surprised at just how high everything was. I always knew the Signature models had gone a bit crazy but thought they were effectively all custom builds so I could understand it. It's stuff like Streamers and Thumbs that amazed me [/quote] If Warwicks were still around £1500-2000 for the bolt on German 5 string models (eg Streamer $$) I would have probably bought one. I may have even tried a Thumb. Now? No chance. It is a massive shame about how they've priced it all. To me, they appear to be as expensive or MORE than a NYC Sadowsky. The changes they have made, eg invisible fret technology, and sustainable woods/low carbon footprint all seem great, but why does the customer then pay an extra £2k on the old prices for the same bass?

I learnt some theory back when I started. This was now around 20 years ago when I was 13 ish. I never used it, to be quite honest. I play and write by ear. Music, to me, is about enjoying yourself and not restricting yourself to a set of 'rules'. As long as it fits, it fits. Completely understand why a technical lead guitarist playing extremely complex solos may think differently, or indeed a bassist wanting to learn more and learn more 'solo bass'. It just isn't my thing. I don't ever intend to be a musician in the sense of music teacher/turn up at a jazz night and play along; my career took many years to train for and I can't see myself being so studious with music. We are all different though. If you want to be a full time session player/teacher/etc, and take it as a career, then yes, theory/etc will need to be taken into account. Plenty of the people I personally look upto as role models never learnt music theory and wrote some amazing songs. Just a snippet of info from my school days - I took GCSE Music for something fun and creative to do alongside the usual subjects. I only learnt basic theory, never leartn how to read music properly, yet my performance and more importantly, my writing of 3-4 songs with a full band, managed to blag me an A. No idea how that happened... Bear in mind that most of the others in the lesson were classically trained and could read/write music, play piano/varius other instruments. I could play decent bass, some guitar, basic keys....still no idea how I did it.

Orange TB500.

That will knock a few walls down! Watch that volume though...that amp can (if its like the 500) put more out than you think. EXTREMELY LOUD!

I'm a bit confused by the 10 vs 12 inch speaker comment. Perhaps their particular drivers are voiced like that but the whole '10" cabs have less bass' isn't true. It might be for their cabs though.

The Aguilar DB 112/212 cabinets are fantastic. Really. I wouldn't personally mod a Stingrays electronics. You pay for good quality in house pups from EBMM and honestly, if you don't like that, I'd move on to another type if bass as that is the best a Ray will sound (to me, that's perfect !). I'm not keen on the new Aguilar Musicman pickups. They sound too precise and clean/no snarl.

Macca. Nuff said....

[quote name='6v6' timestamp='1396510924' post='2414379'] I feel quite sad that you had to bring age into it, I've always felt like music transcends all that I play with (and as a result socialize with ) people who are a wide range of ages, and always have done, "like minded" is the only requirement IMO, combined with a bit of commitment and musical ability obviously. Anyway, karlfer I hope you get it worked out. [/quote] I'm 33. I am probably too old for the young student bands (eg those of 18-21) but too young at heart for what many in this country class as 'normal' for a 33 year old. Mr career has to be number one to me, and takes precedence over my music time. Personally, I prefer playing music all day, but I can't! Hence, its a great way to relax and I never find it boring. In fact, it de-stresses me. Age isn't a problem, but I can't see myself hanging out with 18 year old students who have far too much time on their hands (and I envy them after being like that at Uni), or, what I personally see as 'settling' for a old rock band playing local pubs just doing cover sets to earn. No more poor renditions of AC/DC or Kings of Leon...please...I can't handle it! But, if I found a younger group or older group of people who were like minded, had fantastic energy, wanted to break some boundaries of music, and wanted to actually write music and take time over it, then I'd be happy. Covers can be ok, but for me, half of the fun is putting your own material out.

I barely use eBay...I only use it to sell clothes/shoes I know are going to get a decent amount.

I think innovations in technology have been amazing in terms of what we can do now (eg digital amp emulation/home recording) but I personally think the /new generation' of musicians/bands, (maybe its a certain genre or two that attracts it) has taken a less personal approach to making music. Example 1 - I get an invite to try out with a band. I offer to meet for a drink/chat before this to see where they are going, what they plan to do, how much time they have on their hands (some people barely work which would clash with my long hours). You know, to be social, to get a feel of what they are like, see if we get on. What do I get back? Invite to a long facebook message with multiple people I don't know. They don't want to meet locally (they were all students with time on their hands - been there done that) they just want to send everything electronically. They couldn't even arrange a local meet up, or a practice. I gave up. Example 2 - A band back home, who had a flurry of interest and seemed to be getting somewhere, (although this died off) recorded everything in a bedroom with no amps, no actual drums, no real bass (they used some recording technique) and lots of effects to cover up any issues with the quality. They still do this now. They barely practice, they do everything electronically, and barely gig...it just doesn't seem to be a 'band' in the traditional sense. There is barely any human contact between them! Don't get me started on using computer programmed drums instead of their actual drummer.

I think friendship, IMO, is part of being in a band. I've tried joining bands where everyone else already knows each other, and you kind of feel like the outsider. Whatever I do next, and get time for, it will be with like minded similar aged people. I know a lot of people might session or just play with whoever, but it isn't 'work' for me, so it HAS to be fun and part of a social part of my life.

I completely understand that this has offended you. It would me. I also have no idea how people have time for 2-3 bands. I don't have time to search for a new band or even write music at the moment!

[quote name='Monckyman' timestamp='1396373328' post='2412854'] Whoa whoa.. what about manchester? You can't go gallivanting about stating relocation guff without considering manchester. Whatever the other place has, we have more : ) [/quote] Ay Manchester is fantastic but I like the dockside (originally from a coastal town so I like being close to the coast).

Maybe I'm just overlooking the obvious, but surely most cab placement gets dictated by the band, and that the more you pay, the less you should have to care about cab placement? Otherwise, you are faffing...

Stingray 5 single H. 17.5 mm spacing. Simple vol/EQ with a switch on the one pup for three settings. You could also try a Sterling 5 H.

Well, my trip was short and sweet and we concentrated on doing the usual tourist haunts and I only managed to pop in Dawsons for 10 mins (nice Gibson basses in but that is it). Bass shops took a back seat. I really enjoyed Liverpool though. What a fantastic city. Huge, not stupidly expensive, lots of music, lots of bars/shops/restaurants and the cool Beatles history. We are currently considering a move from the North East depending on work over the next 10-12 months, and Liverpool is now top of the list. It seems that one step up in size and the amount of entertainment going on. The music scene seemed to be thriving, which I really need after having such a quiet time up here.

Not sure if I've seen it mentioned on this thread, but apparently the new reissue of the Musicman amps are going to be made by Markbass in Italy. So their standard gear is now made in Indonesia and the Musicman amps are Italian?

[quote name='BigRedX' timestamp='1396337816' post='2412326'] Probably. I'm still not completely convinced that Thunderbirds should have bolt-on necks though. [/quote] +1. The Lull 'birds are nice, but not quite right for me. Not keen on the headstock as well.

[quote name='Muzz' timestamp='1396102141' post='2409963'] As an addendum to this one, I was passing PMT on Thursday, so as usual I popped in, and there on the wall (at £1699) was a 4003W. I took it down , tried it, and... ...it was as bad as the one I sent back. Fretboard littered with weak notes, nut cut a couple of mm high at the first fret, just lifeless. A £400 bass at best. [/quote] Think I'll give one a miss.