Doctor J

G? Would you not just take up bass? Oh, hang on

I'm not sure I'd say it's a matter of coping I don't really have any duplicates (ie, six Fender P's, etc), they're all different and I enjoy the differences. The bass nerd in me enjoys the different design philosophies and nuances of each. The bills get paid and there aren't any ongoing weekly costs to owning more than one, so I don't quite understand why anyone would worry about it.

http://basschat.co.uk/topic/175316-bacchus-woodline-jazz-5-strings-1000-open-to-trade-with-p-bass/

I have a Noll in a bass of mine and it's probably the fattest sounding preamp I have, thin and trebley are not two words I associate with it

When I think about all the gigs I did carrying that bloody great, heavy (albeit beautiful) Fryette to gigs and I could've just taken one of those out of my pocket

I've got a 4x12 no-one is interested in buying which I'd like to hear it through

I can see them selling gazillions of these, I know I want one at that price http://www.dv247.com/guitars/orange-micro-terror-guitar-amplifier-head--93542 www.orangeamps.com/micro-terror/

Victorialand by the Cocteau Twins, going to ease into this day gently

[quote name='Chris2112' timestamp='1338618951' post='1677199'] He's got nothing to add musically [/quote]Controversial.

[quote]Dear Justin We’re pleased to advise that your copy of Classic Rock Presents Rush: "Clockwork Angels" Fan Pack is on its way to you.[/quote] Yeow! With Royal Mail and An Post at the wheel I should get it by Tuesday week, probably

I'm stunned that people use full boost, especially on low frequencies. With preamps usually giving at least +-10db, that's a hell of a lot of extra low end. If you're boosting all three bands, though, would you not just leave things flatter and turn up a bit?

As little as possible. The bass should sound good without it, if not I move it on. The EQ is there just to give you the last 10%... that push over the cliff.

Another Classic Rock victim here. Waiting is the hardest part.

Indeed. My principal interest here is because I have a pain in my hole lugging stuff around for gigs. If I can get something which sounds decent and fits in a gig bag pocket then I'm a truly happy camper. It doesn't have to be the best sounding amp in the history of the world ever, though obviously it's got to sound good. I will be somewhat forgiving tonally if the size and weight is right. The Streamliner looks about right but there seem to be lots of people out there changing the eq valve to make it something a bit more useable, which is a concern.

I'll keep that in mind, Pete Thanks, everyone. Lots to digest there, lots for me to start checking out.

I've never met a Bacchus I didn't like, can't tell you more than that

[quote name='El Bajo' timestamp='1338389872' post='1673774'] just a bit ruthless when it comes to music and views people as expendable if they don't pull their weight... [/quote] You know something, the older I get the more I see that as an admirable quality, that every band needs someone like that.

[quote name='Lozz196' timestamp='1338378212' post='1673478'] I suppose what I`m trying to say is, where`s the solidarity between us low-enders? Do we automatically side with guitarists or producers, without hearing the evidence, over one of our own? [/quote]Even the OP hasn't heard the final tracks so saying he should listen to the end result first and then make his call when he knows how the land lies is surely a reasonable suggestion? [quote]All the parts that I thought where clever and added value and basically my style. And I know what he would have recorded, very simplistic in the pocket bass lines[/quote]The OP has alluded to playing outside the pocket over, in his own words, [quote]pretty simple metal but very catchy[/quote] So there seems to be a clash of ideologies to start off with. Again, it's all fluff because, until the final mixes are done no-one can say what's right and what isn't. Whatever about band solidarity, a producer from outside the circle will have no such allegiances and do what he thinks is best for the song... and here we are

[quote name='Cameronj279' timestamp='1338375034' post='1673405'] I do that a lot, I retract my comment. [/quote] Well played

He's got his own thing going called Ultrafoxx, the stuff on their myspace is alright but nothing amazing.

Have you actually heard what he played yet? It might be worth cooling the jets and taking on board how it all sounds as a final mix, which is the important thing. What might sound ok when it's just you and the guitarist might genuinely sound too busy when there are vocals, multi tracked guitars and all the rest of the padding are added in. I'd hold fire until I had time to see if I felt they were right. By your own account, songs were changed and you didn't nail some parts. If the guy has invested a lot of his own money and he's got a producer telling him this should change and that should change and you weren't available, you might have done the same thing in his situation. Like it or not, Metal is all about all about being tight and powerful. Sometimes non-standard basslines don't work in that context. If they've changed your parts, it doesn't sound like they've done it to spite you, it sounds like time was tight and the guitarist and producer had a vision they were working towards. The whole project sounds a little underprepared going into the studio. If you hadn't heard the vocals and your experience of the music was flling space with your bass in instrumental songs, then it sounds to me like there'd be a pretty good chance than things might get in the way of each other. If it really wasn't working, would you insist the song suffers so you get to keep a more interesting bassline? I've produced demos for bands and had situations where guys were underprepared, didn't know the songs, didn't know their parts and some just couldn't play. I've never had a problem suggesting that someone else plays the right part to the requisite standard. If people are investing money into a recording then the final product needs to be as good as it can be to the end listener. Bear in mind, Pete Townshend didn't do much playing on Can't Explain. It happens. As I said, listen to the finished product and see how it sounds. It really is all about the song as a whole, not the bass, not the guitar, the song. If you still feel the music is lacking then maybe it's not the right situation for you. If it sounds right when you hear the final mix, maybe you can take it on the chin and learn from the situation.

Thanks, I'll have a look at them. Has anyone tried the Genz Benz Shuttle 6.2?

Against my better judgement it looks like I might be getting back into a regular rehearsal/gigging situation again and I'm thinking about picking up a small amp head to take some of the lug out of lugging. Amps have never been a big deal to me so I'm not entirely learned as regards what's out there. I'm looking for something small and light, the kind of thing you might fit in a gig bag, doesn't need to be more than 500W, I reckon. I'd need two speaker outs, not a combined speakon/jack however, two seperate outputs. Tonally, if it could do a bit of dirt, that would be nice. A decent DI output would be good too. If I can keep it under about £600/€700 that would be just tickety boo. I don't need anything outrageuous, tonally, or onboard effects or other gimmicks, the simpler the better as far as I'm concerned. This is a rock band, so I need a bit of ooomph but I don't see myself needing 1.21 gigawatts, if you know what I mean. The Aguilar Tone Hammer 500 looks decent but my knowledge and experience of them doesn't go beyond their preamps. So, good people of basschat, if you have any experience of this kind of thing I'd appreciate hearing your experience and opinions. Thanks in advance.

Hot Dog! [i]That[/i] is a spicy meatball!