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The easiest option is get a heavier g string, it will be louder and have more bottom end. The tricky thing is the piezo strip may not be totally flat so the bit of the bridge above the g string may not be fully in contact yet the tiniest gap makes a difference. [quote name='Linus27' post='1252347' date='Jun 1 2011, 08:37 AM']First rehearsal last night with the acoustic bass (amped up) and it was not bad but the G String really was still a little too quite for my liking. Not wanting to fiddle anymore with this, is this something a luthier/tech would be able to fix or am I pretty much stuck with it like this?[/quote]

Good one steve, I love bootsy. I wasn't wanting to start anything negative about slap bass I was just curious about the youtube phenomenon. Go in peace bass brethren.

After doing a google search of some basses, I was struck by how many you tube posts come up with people playing slap. While it's great that someone takes the time to make a video demonstrating a bass, the vast majority are non stop slap. I'd just like to hear a bit of everything, a few notes longer than 20ms, some eclectic bass styles. And why do so many people miss out their heads in these youtube clips. Are they ashamed? Is slap bass illegal in some countries?

I recently ripped the cone of the B+C driver in my Epifani T110 UL cab. I replaced it with an Eminence DELTALITE II 2510. 10" It seems like an improvement to my ears, I'm well impressed with the sound of the cab with this driver, I'd say it was a more even response. The truth is I'm just glad it's working again!

Thanks for the replies. It's the sound I'm after and it would have to be a long scale

I'd be interested to find out some opinions on some of the models of hollow body basses currently available. It would be ideal to compare them in a shop somewhere but usually you'd be lucky to find just one make of hollow body bass in any shop The lakland hollowbody and warwick star bass are looking and sounding good (although the warwick seems a bit overpriced) the epiphone jack cassidy looks like it could be OK but I don't know if it is up to the spec of the other two. Both the lakland and the warwick have a solid central core which seems like an advantage. Of course there are the vintage basses like the guild starfire and the gibsons but these are very hard to find. Any thoughts?

I don't suppose anyone has a replacement speaker for an epifani T-UL110 that they would like to sell?

I just ripped the B+C speaker in my epifani T-UL110 cab. I've asked B+C about a re-cone and they directed me to their US people as it's a custom speaker. It could be too expensive to send it all the way to the states and back for a re-cone, so I am thinking about a replacement driver. The cab had a good bass response for one so small so what is the best 10" 200-300W driver for handling the low end?

Ta for all the suggestions. The .130 piano is actually sounding really good in rehearsal now. None of the odd overtones above the 7th fret can be heard with the rest of the band playing. I must remember never to judge anything before trying it at volume in rehearsal or at a gig.

Ta for the replies I'll check those strings out. The .130 is playing in well I just checked the intonation and had to adjust it a bit. I set it up after I first put it on but a bit of dirt seems to make a difference!

I've been using rotosound steel strings on the stingray 5 for a while now. I've been trying to get the B string to have more clarity so I tried a roto .120 then the .130 roto piano design on the B. The tone of the .120 was clearer but of course the string lacked tension. The .130 piano was certainly brighter but not so good past the 7th fret. GHS contact core strings look like the right sort of guage but I haven't tried them. Any opinions on who makes a B string around .125 with enough tension?

Can anybody point me in the direction of some decent recordings of a Dingwall super J played finger style? Most of the stuff on youtube is not great sound quality and usually involves a lot of slap noodling.

Before you go replacing the pickup or electronics, find out what really good eq. can do DI the bass through something like a midas desk, there should be more than enough high mid and top end boost to let you hear what is possible. If you want top end boost without hiss, John East makes a good eq pedal DI if you don't want to mess with the wiring in the bass. Its worth spending a bit of money on a good eq like this with a sweepable mid. Use it to boost hi mid or cut low mid.

Ta for that I'll have to give that bass a try .

Anybody know who makes a 5 string with reverse position precision pickup (the D and G part of the pickup nearer the neck) and a jazz neck pickup?

Thanks for the replies. It is a revolution solo II. The capacitance makes a bit of sense to me. The most frustrating thing about this is that the problem seems to be at it's worst in the shed I use as a studio. I've done a bit of research into earthing but I need to find out more. I may need a big copper spike in the ground connected to the earth wires in the studio.

Ta for the replies if they are not the same size that's all I need to know.

I have two pickups on my double bass, one is a realist beneath the foot of the bridge, the other is a revolution solo two in the wing slot. The realist is very quiet on it's own (the piezo unit is covered in copper foil, the strings do not need to be grounded), whereas with the revolution solo on it's own, the strings need to grounded via a shield wire and I need to be touching the strings to prevent a loud hum. I understand how shielding works but I am puzzled as to why I need to hold the strings to prevent hum if they are already grounded? I have observed this problem with other instruments too. It would be great if someone would explain this.

Could someone with a g+l L2500 or L2500 tribute tell me the length and width of the pickups and the the distance between the screw mounting holes. I'm wondering if they are the same as an EB Musicman Stringray 5 pickup?

Some of the squier jazz basses are very good and very cheap. Just buy a passive one and save up for a john east pre.

Could someone with a G&L 5 string measure the dimensions of their pickups for me? I'm wondering if they are the same as EB Musicman stingray 5 pickups.

Here's an example.. I've played lots of basses, out of all of them, I think the Wal was the most beautifully made bass I've ever owned, but in the end the sound just wasn't right for me. I use an EB musicman 5 now. I bought a used squier jazz for my daughter on ebay for £120 it sounded and played great, comparable with other great basses I've played. I was really surprised.. and lucky, (they don't all sound like that). So there are cheap mass produced basses that are great instruments, the only way to find them is to play them, or get lucky!

I hear what you are saying about the fashion thang, but the punters like choice and lots of it. I bought my SA450 4 years ago and it's actually grown on me a lot over time. To start off with I was quite underwhelmed. I certainly didn't buy it for the way it looked! and the fan noise was irritating when recording. I'm not a fan of the VPF and VLE filters and I think the eq layout is a bit daft. So why do I still have it? I guess the main thing is that it's light, reliable and the power amp is clear, and powerful. Because it was so clear it really showed up some failings in the preamp and pickup of my bass so I replaced them. I now mostly use the eq on the bass. It has made me realise that I need to try and get a sound from my amp that's something close to how the DI signal will sound through the PA. A lot of festival stages I play have an SVT rig which can be great if it's a good space but I often miss the clarity of the Markbass in situations where the stage sound isn't great.

The best idea is to do a search on ebay and gumtree for "collection only" Look for a Gallien Krueger MB150 which is actually portable. Failing that anything that's a small bass amp of about 150W will do the job. Get yourself a folding trolly. [quote name='JeSuisSkeleton' post='960079' date='Sep 18 2010, 01:00 AM']Hi there! I'm Phil, a music student living in London. I play most styles of music (not ventured into jazz just yet...), and I've just joined a synth-rockish band, which is a whole new thing for me. I also write ambient music with a guitar. The main gear I use is as follows: 2005 MusicMan Stingray 4 3EQ 2004 Ibanez BTB406QM Boss ME-50B Boss RC-50 I can't afford a proper bass rig at the moment or for the forseeable future so I'm playing through a practice guitar amp at home, and I'm looking to replace my ME-50B with stompboxes. Suggestions for cost effective effects and (relatively) cheap, ultra-portable/tube-friendly rigs are welcome! [/quote]

I have had it pointed out to me by a sound engineer that I used to hit the strings off the poles and make loud clicks when playing hard at loud gigs. My solution to this was to install a thumb rest just in front of the pickup and a little closer to the strings. I don't hit the pole pieces now and crossing strings is faster. I wouldn't mess with the polepieces, they are probably glued in place. The cheapest and easiest solution to the quiet G is to use a heavier string on the G (while keeping the others your usual gauge). You'll notice the change in tension to start with, but you'll soon get used to it.