Beer of the Bass

Picato stainless roundwounds had a surprisingly dull E when I tried a set, though I don't know if they always do or if it was just that set.

Sparkly grille cloth looks great on outdoor stages, anyway!

I guess the difference in response between different basses might be part of it. The Honeys with their firmer feel worked better for my particular pizz style than the new set do. It was mostly the D string which I couldn't get on with, the others had a little more definition and focus to them - this could easily be a quirk of my bass. One synthetic core string I did really like when I used them are the Thomastik Dominants, which are stiffer feeling than any other synthetics and offer a more organic version of that Thomastik growl. But the Dominants have a terrible habit of breaking and after three breakages in six months I decided I couldn't keep using them. So I was almost hoping for a touch of whatever it was I liked about the Dominants in the new strings. I can see the new strings being good for walking jazz and they do bow very nicely. But at the moment Spiro Weich are working well enough for me both pizz and arco that that I feel perhaps I shouldn't mess with that.

Having tried the rest of them it turns out that these are really not the string for me. On my bass, they feel notably softer than 3/4 Spirocore Weich and from memory I think they're much softer feeling than my old Honey set too. It's interesting that several players noted that the G feels slightly stiffer than the other three. I think I like the way the G feels and would prefer it if the other three had more tension to match. For pizz playing, the G is my favourite and the rest are rather too dark for my tastes. The D in particular comes out almost tubby sounding on my bass. I'm sure there are players who could enjoy this sound, but I found myself putting the Spiro Weichs back on rather quickly. The new set are very easy and satisfying sounding to play arco, a much mellower sound than my Weichs, but for me the pizz sound just isn't what I'm after. So I think the answer for me is Spiro Weichs and keeping practicing the arco playing! This does make me appreciate the string trial scheme, as it's great that I could find this out without having to buy a set. Who's next?

These have just arrived with me, and so far I've only tried the G string. My bass is a carved German flat-backed instrument with 41.5" string length which has previously been wearing a 3/4 Spirocore Weich set. I'll change the other three in the next day or two, but the G has made quite a good first impression. Playing pizz, the body of the note is darker sounding than the spiro G but there's a fairly bright woody snap on the attack of the note which can easily be brought out with the right pizz technique. This gives it a little more articulation than I remember from the Honey G when I used those. It starts easily and plays cleanly with the bow, though it's quite a light, airy arco sound on my bass, without the midrange focus of the spiro weichs or the rich darkness of a dedicated arco string. Very usable though. More to follow when I've changed the other three over...

I've had a backup amp save the day three times in the last three or four years. Once was when the valve amp I was using at the time developed a minor fault, one was when a house amp proved to be dead and once when another bassist's head went into protection mode. Although with a half decent PA a DI box may be sufficient backup.

I remember hearing a friend's band explain it to the audience thus; "This is an acoustic set, 'cos we're sitting down!"

[quote name='CamdenRob' timestamp='1409058585' post='2535875'] I find it astonishing how clueless some people are with gear... cranking everything up to ten then wondering why it breaks or sounds sh*t. I wonder how these people have managed to get to adulthood without electrocuting themselvs trying to play bass in the bath or something.... [/quote] My pet hates are people turning the volume or bass knobs up to 10 or turning the amp up with a live jack lead plugged in then fumbling around to plug that into the bass. With my guitar amp, I've also caught people flicking the power switch on and off repeatedly because they don't understand that a valve amp doesn't make any noise for half a minute or so. Flicking it on and off like that can cause a valve rectifier to arc and fail catastrophically. I can see why house amps or rehearsal gear are so often completely knackered!

[quote name='Dad3353' timestamp='1409057046' post='2535846'] This may help..? [size=4] ( ... or not..!)[/size] [url="http://www.urbandictionary.com/define.php?term=ched"][size=4]'Ched' definition...[/size][/url] [/quote] Hmm, "[i]this word can describe how u feel or can describe how something looks[/i] [i]Aye you see that girl over there, she look ched. Hello how are you doing today, I'm ched[/i]" Whoever wrote this sounds like some sort of modern day Molesworth!

[quote name='Spoombung' timestamp='1408893063' post='2534371'] I personally hope it turns into 'Pop' as in 'popular' - ie, stuff lots of people will listen to - rather than establishment. [/quote] I like this idea, though it's not often that bands have managed it. In some ways it's more of a challenge to squeeze experimental elements into a recognisable pop song than to play them on their own to an audience of six in an arts venue somewhere! I guess the former idea is something close to your heart, judging by some of your music (from Stump onwards)?

[quote name='stingrayPete1977' timestamp='1408998615' post='2535439'] Dont you just love a load of pissed up guests telling you how good there mate is and you should let them play! [/quote] I had a long pub gig/jam a couple of weeks ago where the guitarist had discovered that one of the bar staff played bass and wanted to get her up for a tune or two, using my bass. They asked first, she turned out to be a good player (recently graduated from a music degree, so probably better than me!) and I got a welcome break with which to grab a pint from the bar tab. So it [i]can[/i] work in some circumstances!

I've had the older LM250 and currently have an MB200. I think the preamp on the Markbass is a little more versatile, as the MB200 has it's own sound which you'll either like or not - it can be dialled close to flat but you won't have a lot of range left on the EQ beyond that. Also the MB200 lacks a 1/4" line input so might not be the ideal choice for use as a power amp. The small size of the MB200 is attractive, it feels like a physically robust package with those roll bars on the front, and it does sound good, so either could be a valid choice.

Just a guess, but it sounds like it may be putting out DC on the speaker output due to a malfunctioning power module, which is very hard on speakers.

Are you sticking with roundwounds or genuinely trying all types? If it's the latter, I'd make sure you have some flatwounds and some black nylon tapewounds on your list. You might like them or not, but they are a different playing experience than rounds.

[quote name='isteen' timestamp='1408266209' post='2528382'] BTW - what is your settings (I really [i]don't[/i] like the contour switch)? [/quote] A Talkbass member (FDeck) ran an RTA on his and found that the settings closest to flat are as follows (the settings are expressed in clock numbers); Contour = Off Treble = 10:00 Hi Mid = 2:00 Low Mid = 1:00 Bass = 10:00 I don't run mine like this, but it's as good a starting point as any. I like mine with similar settings but the treble boosted to around 12 o'clock to add some definition to my flatwound-strung bass. At low volumes I'll often boost the bass a little, though if I'm trying to get the maximum juice from a small cab I'll tend to keep the bass low and boost the low mids instead. The contour switch is flattering when playing alone in my living room but I don't like the way that sound works with a band. And I'm not sure the amp really needs any more mid-scoop, since it's already boosting bass and treble and cutting mids with the contour off and all the knobs at noon.

[quote name='discreet' timestamp='1408009566' post='2526166'] Currently using Status Half-Wounds, which are great. They're also very affordable for hand-wound strings. Status make their own strings, they're not a repackaging job. [/quote] I thought they were made to order by an unspecified UK string company, to Status's specs. That was certainly the impression I got when my set was out of stock and they said they were waiting on their supplier.

[quote name='nick' timestamp='1407961756' post='2525875'] My favourite flats too, been playing a set for a few years now & they just get better. Bassbod turned me on to them ...a good halfway house between Labellas & Chromes. More low mids than Chromes & punchier than Labellas, but they still have plenty of thump. Lovely to play too. [/quote] The same set for a few years? If mine go for that long I'll be pleased!

You do know he's reading the thread right now, don't you?

I've just put a 45-130 set of these on my five string and so far I'm enjoying them. Apparently they're made for Sadowsky by LaBella but are made to their spec rather than simply being a Labella set re-badged. Mine aren't played in yet, but they tend a little more towards the old-school flatwound thing than D'Addario Chromes or Ernie Ball, but still have decent sustain and detail to them. The B-string is quite dark but workable, certainly at least as good as the Chromes B and the lower notes sound huge. They're very smoothly polished and a little less stiff feeling than Chromes of the same gauge. Using the neck pickup on my bass has a satisfying earthiness about it that's a lot of fun to play. Has anyone else tried these and what did you think of them? I'm curious about how they compare to the regular LaBellas too - though I'm not going to try any more strings in the near future as I want to see how these settle in over a few months. I haven't seen much mention of these on Basschat, though I guess that could be because you have to order them from the US.

[quote name='stingrayPete1977' timestamp='1407794133' post='2524162'] Last time I did a rig share the guy looked a bit upset when I finished my sound check with the all singing all dancing Shuttlemax 9.2 head with Genz 2x12T cab then popped the little shuttle 3.0 on top and swapped the power lead and speakon lead over for him, "there you go mate you can fiddle with that all you like and leave it where you want as I will only need to use it if mine goes pear shaped later". If he could afford a silly hair cut and a vintage Fender P bass then he can afford a little MB200 head to put in his gig bag can't he? They nearly did not go on as their drummer refused to play our drummers kit because he normally uses one with with two rack toms instead of one! They finally went on after moaning about having to turn our drummers left handed drum kit around before and after their set and it not being up to their standard (Pearl Export with Remo skins and a full set of Zildgian (sp) cymbals), a few Nirvana covers and they were done [/quote] Ah yes, the guys who rock up with no gear expecting to use yours (but don't discuss it in advance), then express disappointment that what you've brought doesn't suit their particular requirements. That drives me nuts! I've had it a couple of times - one was with my bass rig when a guitarist in the other band brought a Marshall and 4x12" cab and cranked it. I don't carry a rig that can keep up with that and I don't need to as the guitarists in my band use 1x12" combos. I've had some moans about my guitar amp too - it's a 1x10" 15 watt valve combo which I built myself. It gets fairly loud but doesn't have the biggest bottom end in the world and it has only one channel which is clean when played quietly and gritty at volume, so it really doesn't suit every style but it's perfect for my needs. I feel like I shouldn't have to select gear for anyone else's tastes but mine. On the occasions where I've arranged in advance to use somebody else's gear and not liked it, I've kept my mouth shut, made the best of it and thanked them after the gig. And I'd have been pleased to arrive to a Genz rig in that situation, whatever the model!

[quote name='CamdenRob' timestamp='1407769883' post='2523787'] I've one of these I use when the full rig isn't required.... It's getting an outing Thursday night along with the Wizzy 10, I can take the whole set up on the tube. [/quote] I took my MB200/Wizzy 10 setup out for a gig last night. It's got to be the nicest sounding rig of that size that I've heard. It won't fill a huge room with deep bass but in small rooms or with PA support it's very useful, and being able to sling it over my shoulder in a padded cajon bag and hop on the bus makes city centre gigging a lot easier.

I've recently built new neck for my 34" bolt-on five string. The new neck uses the same woods as the old neck, but has carbon-fibre rods under the fingerboard, a slightly deeper profile and a double-action truss rod. When setting up the bass I have the distinct impression that the new neck is a fair bit stiffer, as the truss rod requires relatively little tightening to bring the neck close to straight. While I haven't done a straight A/B of the two necks, it does seem that the B string has better sustain and is a little clearer sounding on the new neck. The clarity of the B string could still be improved further up the neck, but I'm going to try a tapered B to see whether that helps. This makes me wonder whether neck stiffness is as important as anything else to a good sounding B-string.

If I'm sharing my gear I'd usually prefer that the head and cab were used together, since I'm using a GK MB200 at the moment which would have a hard time blowing the drivers in my larger cab. Lately I've been going off the idea of sharing (except in specific situations with bands I know), both from having my gear abused and from turning up and finding that backline the other band offered to share was a 20 watt practice combo at a gig with vocal PA only!

[quote name='skankdelvar' timestamp='1407681800' post='2522927'] Whether the guard in question is a 'nice' guard or not is kinda immaterial to the specific issue. If one chooses an item from a picture posted by a seller then the finished product should at least come close. This guard doesn't. As for Spitfire's business practices, the general sense I get from posts around the different threads is 'His T&C's are clear upfront - but 35% is well on the steep side'. I suppose what it comes down to is the balance between a maker's desire to protect his own sense of 'creativity' and the need to compromise with the buyer's wishes. Some makers err one way (the Michelangelo syndrome) and others are more pragmatic, though rarely have I seen such reinforcement of self-esteem as in Mr Spitfire's various broadcasts. [/quote] I think the 150 page thread of mutual congratulation over on offset guitars is one of the desired outcomes of Mr Spitfire's activities just as much as the actual pickguards are. You're not just buying a pickguard, you're buying into a club where you can sit around praising one another's exquisite taste and discernment and Spitfire's artistry in a kind of reciprocal ego massage. I think that might be what he was getting at in his comments about becoming the customers friend, but if you just want to purchase a good looking pickguard and call it done I suspect you don't have very high priority in his world. This would explain the lack of traditional customer service values.

You brought it home on the train? That's dedication!