Danuman

Just listen to the video you posted of I can't go for that. The vocals are chock-full of pitch correction artefacts. I suppose it's a bit peevish, but I can't genuinely enjoy live performances if there's that kind of tinkering going on. To me it sort of goes against what makes performing live music worthwhile. Edit: I'm sorry, I suppose there was really no need for me to bring it up. I enjoyed the video with Diane Birch. The additional posts just reminded me of how I felt about the show in general.

I liked the song with Diane, and I like the idea of the series, but the pitch correction in many of these recordings completely spoils it for me.

I haven't tried one, but I think the mash function could be a really inspiring feature. Just flipped my regular HOF in favour of a Keeley super mod workstation (it's there for function gigs) but it was a close call. It really is a great sounding pedal.

Ooh, congrats! I have a bit of a soft spot for Japanese Fenders. Some years ago I bought a battle-hardened 1989 Strat for a modest price, had some work done on it, installed a set of David Allen pickups... and I can honestly say I haven't even thought about wanting any other guitars since. I hope to find a bass like that one day.

We overheard Cornell Williams explaining to someone that Big D had other engagements, so it was the same lineup with Nigel Hall on organ. (By the way, that guy can sing! Shame he didn't get more time to do it.)

[quote name='D'AddarioUK' timestamp='1500280035' post='3336576'] Your options for a heavier E from our range would be either the EXL170BT balanced tension set (45, 60, 80, 107) or EXL165 (45, 65, 85, 105). [/quote] Cheers, I might have to give the 105 another go then.

Thanks, that was a good read indeed! Comb filtering issues do my head in sometimes. (Now to find an easy way to explain to the bass player of one of my bands why boosting the low lows on his rig by 15dB is not beneficial for the rest of the band.)

I certainly didn't set out to improve the tone, but, as I stated before, my dainty little fingers prefer the smaller string spacing. I play with a pretty powerful snap, and the tighter spacing reduces the stress on the tendons in my right hand.

Well this afternoon they were back about one and a half hours down the road, so I just couldn't pass up the chance of seeing them again. Unfortunately, their New'Awlins cadences proved a bit too sophisticated for this audience. (The term flogging a dead horse comes to mind.) It was, however, a free festival, so I suppose that had something to do with the mismatch. On top of that the sound engineers were utter tools. During the gig, various vocal mics and instruments cut out - all of them at least once, sometimes for minutes - only to return way too loud. They really had to earn this one. Still, they pressed on gracefully and they even got the crowd to move a bit near the end. Great band, wrong festival. Oh, and I too got to shake Cornell Williams' hand! Such an awesome player.

Luckily, I'm not super fussy about the tone of my bass. I have my preferences, but whatever the situation, I can usually make it work and focus on interacting with the band and having a good time. That said; I did make some fortuitous choices that left me with a pair of basses and a rig that sound pretty much perfect to me.

Might anyone have a suggestion for a round wound E string that is slightly tighter in feel than the 100 string from the 170EXL set? On my Jazz the 170EXL set is perfect, but on my P I could do with a stiffer E string. The 105 seems to lack some snap, unfortunately.

[quote name='dood' timestamp='1500041367' post='3335314'] F#..... F# ..... F# ..... http://www.youtube.com/watch?v=nfvfT14VUXk [/quote] \o/ Tim Minchin \o/ Thanks for that!

Ooh, timely question! I've played 45-100 pretty much exclusively. Nice and snappy, and they suit my Jazz perfectly. However on my recently acquired Precision the E string is too floppy. 105's are nice and taut, but they go dull a bit too quickly in my experience, so I'm looking for something with the best of both. I tried some 45-100 flats which were nice and and firm, but I found I prefer rounds on my P (heathen!).

My '70s Japanese J copy had very tall grub screws as well, but then it originally came with a bridge cover. Not a huge issue for me, but having pointy bits is far from desirable. I really like the design of the A Style bridge, although the G saddle is a bit too near the end of its travel for my liking. It popped off the thread during rehearsal the other day - though admittedly I set up the intonation a bit hastily. I'll have to take a better look when I have some time.

Hahaha, I should've guessed as much. Adequate won't do round these parts, surely.

Haha, he's a big fella alright. In fairness, though, that would be almost as good... Beautiful sweetness in that dude's playing.

Fearsome indeed! The listing for North Sea Jazz was also under Jon Cleary, but Manchester has them billed as a quartet, so I suppose they're all tagging along.

Ah, yes I get what you're saying. I tried to word it specifically that way, but maybe something was lost in translation. Let me rephrase: What would you take into consideration when evaluating the need for an upgrade? Thanks for the suggestions, though! I'd love to try a Thunderfunk (if not own one just for the name!) but I've never even seen one in the flesh. The TH500 would suit me very well, but I find them a bit too dear over on this side of the pond.

I found an FM A Style bridge at Egilegor Basses. In Spain, no less! Very nice and helpful chap. First impression wasn't very good (when I tried setting it up, the chrome finish caused some issues I suppose Hipshot really ought to take a look at) but I managed to sort it out and it now sounds and looks absolutely brilliant.

I did look at the MB500 but unfortunately there's no aux in. The MB200 does seem to punch above its weight, but I'd like it to match the Eden a little closer. If anything, just so I could mix it up a bit. [quote name='chris_b' timestamp='1499501301' post='3331872'] I'd upgrade from the Eden and let that [i](the Eden)[/i] become the backup. [/quote] There's a thought. I'm interested in what your considerations might be. I know this amp is not nearly the be-all and end-all in bass amplification, but it's powerful enough for me, not too cumbersome, and I have little objective reason for any tonal improvement.

Just wanted to share: I've long wanted to go see Jon Cleary and his band and yesterday I lucked out. I managed to grab a ticket and went to see them in Rotterdam at the North Sea Jazz festival. Sadly, I couldn't get into the (rather smallish) tent to see Richard Bona, but I'm so happy to have seen the Gentlemen. If you don't know Cornell Williams, do check him out. Brilliantly fun player, and the rest of the band equally live up to their band's name. They'll be playing some UK gigs soon: http://www.joncleary.com/tour/

Cheers, thanks for that! Had I been able to get to Margate, I'd have put an offer in. How do you like the EQ points?

Hi all, Sorry if this has been done to death, but my queries haven't turned up much useful info. I'm looking for something light and powerful, ideally with the option for silent practice, to supplement my (rather good) Eden WT550. I was thinking of a used Little Mark III, which would be a nice change of pace, but it lacks aux in and headphone out. At some point I'm probably going to get some or other DI jobby as well, but for most gigs I'm likely having to rely on the amp to do the heavy lifting. Any ideas?

Hmmm, bbot. There's that word again. I figured that it's the bent steel bridge... is it an acronym? I think bent steel bridges sound absolutely fine, by the way. (Usually.) I just happen to find tighter string spacing a lot more comfortable.

You're right! Although I like the idea of it, I had kind of dismissed the Babicz because of the over-designed/premium look, but the Z bridge looks pretty good.