NAS

[quote name='Conan' timestamp='1386063632' post='2295076'] Duly noted and post edited accordingly! I think I had another post in mind when I wrote that.... apologies to NAS [/quote] Apology accepted Conan. These threads can become quite serpentine! I know the internet has become a very different place since I used an early version, the UK university extranet LUCY back in the mid 70's, and now "monetisation" is all. I'm very happy to pay for on-line services so long as they are fit for purpose and value for money. £20 for a year's access to a specialist marketplace where in the past I found doing business was a pleasant and generally successful activity is as you say a small cost, and who should bellyache about that when the trade values are relatively high? I suspect it will be true that people wishing to make one or two off trades of relatively low value items will struggle a bit. Are there rules about making multi-item ads if for example you were selling a number of amp valves? Best to all, NAS

Haven't been here for a while. Used to do quite a lot of trading basses and gear in the free olden days. This was the first I noticed about the charging. Just coming up for some major reverse GAS - suppose I'll sign up for a year's worth in the New Year - when the light improves and I can get some decent pictures! Merry Christmas and Happy New Year to all.

Hi Base, Just reactivated my account here (couldn't even remember my User Name let alone the password!) after a while in the wilderness. Very interested to see you have plumped for the RH750, RS210, RS212 + Footswitch combo as I've just done the same! Not expecting delivery for a few days as being held back until all units available, but looking forward to sampling it soon. I got a couple of new Speakons thrown in so hope I don't have your startup problems. Will be interested to see how I get on with the compressor and TubeTone particularly. With a built in tuner I'm hoping to get away without the need for any additional foot pedals. Will simplify set up no end. All the best with your new purchase. Good to know I'm not alone. NAS

I have quite enough challenge trying to make my playing match the original without adding or changing anything. Most usually my part ends up being a slightly bastardised version of the original with personal fixes to cover the bits I can't seem to get right, either because I can't hear properly on the original or because I haven't the skill to reproduce it properly. That said, if I hear something in my head that seems to "improve" the band version I might be tempted! Of course a talented player might find a lot to "improve".

Brought up in bass with McCartney, Bruce, Entwistle etc. Very influenced by Casady and Lesh. Like a warm full-bottomed sound and used to go for some top end presence. Recently heard a friend playing with a drums, bass, guitar, keys combo using a Hartke Kickback 1200 through a Bassbone and an Aphex "Big Bottom" using a '70s Jazz with added P pickups between the Js and flatwounds. He managed to get a remarkable carrying sound with this which fitted the mix well. No high end attack at all, but somehow the envelope of the low end sound had a defined push which worked very well. We both play finger style only and I've always had an issue creating some kind of attack at the front of the sound without upping the high-mid and treble end. Have since tried an Epifani UL-112C combo with an Aphex 204 Big Bottom and Aural Enhancer and a T.C. Electronic C300 Compressor with the combo leaned back on stage to help hearing the sound. Using a new Fender American Standard Jazz (thanks Rich) with both pickups open and no tone roll-off and D'Addario nickel roundwounds this set up enabled a similar low end sound with little "zing" but a clear push which placed itself well with a drums, guitar, keys ensemble. Quite a revelation. Don't know that using round or flatwounds would have a huge effect either way with this signal chain. Soloing the bridge pickup created a more middle filled sound which worked well for "Maggie May" (did Ronnie Lane do that on a WAL fretless?). But very little top end in this sound therefore probably useless for slapping, popping, tapping and other Wootenesque shenanigans which my primitive playing is unable to achieve reliably! Very different from my previous Epifani UL-902C into UL-115 and UL-210 cabs using the Boss ME-50B "natural" compressor setting. Much more mid and less rounded bass. Using the Jazz I'd turn down the bridge pickup and tone about a third to achieve what I heard as a more vintage "thuddy" sound for '60s numbers. My preference would be to find "the sound" I'm after with as little "interference" in the signal chain as possible. Ideal would be bass full on into pre-amp set flat into speakers with nothing else intervening, but that seems to be a wish too far. Having set off on the "effects rack" route I can see many hours of arduous twiddling ahead!

All the time. Unless you've got an ace sound person "in the house" or you use something like this: [url="http://www.dv247.com/news/Bose%20L1%20Model%201%20Model%20II%20Compact/132338"]Bose L1 Behind Band P.A.[/url] don't know how you solve the stage sound / house sound and the empty house / full house issues. There must be some experts out there somewhere?

Yes, this is really useful - if I could only remember it off by heart and know what frequencies I am hearing, or failing to hear, when I'm setting up the band and bass sounds. Then there's setting EQ on the instrument, on the effects, on the preamp, and the nature of the cabs and their adjustment (tweeter adjustment). I find raw mids too harsh when soloing the bass sound and like to hear the blend of lows and highs given by the smile, but in a band context the sound is just woofly with no definition or penetration. I saw Paulo Nutini doing a spot on of all things The Alan Titchmarsh Show a while back and was astounded at the fullness and definition of the bass sound (Michael McDaid playing a semi-acoustic I think) even on small TV speakers. Would love to know what he was doing (or the TV sound engineers were doing) to get that sound. I suppose it was probably very carefully compressed. I'm trying out a T.C. Electronics C300 but there's a bit of a learning curve to add these variables to all the others. There's also that huge difference between listening to your sound right next to the stack and from 20 feet away (or as far as my lead will allow - haven't gone wireless yet!). Would love to be able to put a me clone in the audience to hear the "whole" sound. Still twiddling, but those mids do seem to be a major part of the key. [quote name='Ancient Mariner' post='830510' date='May 7 2010, 11:44 AM']I'd guess how much cutting and boosting depends on the rig etc too, so it's not a case of just boost everything 50-200Hz. I found the image below a couple of years back and it's helped me understanding where different instruments lie in a mix - hopefully it's useful to some of you in this context too.[/quote]

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