warwickhunt

48 minutes ago, ProjeKtWEREWOLF said:

Fair points. The bottom end isn't what I'm after; the k212 is a great cab and I love it. 

The cab is an annoying size. I'd add a 2x12 if I could find something that would fit tbh. 

If the TC K212 is an annoying/impractical size I'd be selling it and getting a cab or cabs that work for you. 

I have various cabs for different needs and my pair of Aguilar DB112 cabs (effectively a modular 2x12) will keep up with the loudest band.

You want more volume than the (theoretical) 300w you are presently getting and another 8 ohm cab will (theoretically) get you 500w but that is only (give or take a few percent) 10% 'louder' than you are presently.  More speaker displacement is certainly going to help but it is going to make for a very loud stage environment... should the PA not be doing the heavy lifting? 

If you must be louder and have more speakers why a 15" cab to go with your 2x12"?  If you say for more bottom end you'd need to do some reading around on BC.  The ideal solution if you like how it sounds now is to simply add another 212. 

A suggestion might be to sell the 212 and get a better/more efficient cab, which should be achievable for your £600 (+ sale of TC cab)... but that opens a whole can of worms.      

I remember lusting after this the last time round... still looks purdy!  

5 minutes ago, Burns-bass said:

 

if you’re buying from a shop of course they *should* (but don’t always) set it up to your requirements.

 

In my 45+ years of playing bass and buying them, I've rarely (not saying it doesn't happen) seen a retailer that will specifically set up a bass for a customer... and that is new instruments never mind used.  I know of a couple of bass specific retailers who say this in their info but without a customer sitting next to the guy setting it up, I don't know how that is achieved.  

To answer the OP - all frets wear but Warwick frets do better than most but be aware that they are a wide(ish) low(ish) fret when new and some folk used to tall skinny frets can get jittery and think they are in need of a refret; as a generalisation, if the bass plays OK, leave them.  Barrels are £5 - £10 so no big deal and if it is 30 years old it'll likely have been done any way.  Electronics are standard and shouldn't be an issue.  However, check the preamp works OK as 'sometimes' they can die but if it operates normally don't worry about it.  Battery compartment lid WILL be broken but a strip of gaffa sorts it.  Truss rod shouldn't be an issue as shonky ones should all be sorted by now but worth looking at the nut/adjuster to be sure someone hasn't been chewing away and rounded it with a non metric key.

4 minutes ago, BigRedX said:

Pre-EQ, but get the PA engineer up on stage to hear what your bass sounds like to you through your amp and cab(s) so they know what sort of sound to be aiming for FoH.

You'd like to hope they would.    

I had an experience where the engineer wouldn't take my amp DI (a good DI btw) as he wanted a clean unadulterated signal to work with... I tried pointing out we were a Cheap Trick tribute band and my effects/amp inc valve amp overdrive etc were to recreate a specific bass tone.  He wasn't happy but he was being paid by the venue to do the sound for us not him.  

I have a Ditto Looper (but tbh it is redundant as I have one built into my Plethora X5) and it is simple to use, you just need to get used to how many times you are tapping it.  

14 minutes ago, BigJHW said:

Tech Soundsystems - aren't they what turned in to Tecamp - and now Eich?

didn't realise they were making super lite weight cabs all that time ago.. 23kg for a 4x10 is stunning - and i bet it sounds HUGE

sadly i lack the space to store this or i'd probably have made the 6 hour round trip haha

GLWS

The same.  I had a 6x10 of theirs about 17-18 years ago and it was about 25kg.  I still use their Blackcat amp: x3 valve preamp and dual 500 watt Powersoft amps.

11 minutes ago, gjones said:

Don't do it!

 

Gumtree recommend you only deal with people in your local area and meet up to do the deal, because there's lots of scammers out there who want to steal your money. 

 

Whether it's Gumtree, or Facebook, the advice is the same.

 

Fight the GAS!

 

 

Jeepers!  That kind of talk will get you removed from BC... the system would break if we only bought from 'local people'!  

1 hour ago, stewblack said:

I'd love to try this, but it's a hundred and sixty miles away..

 200 miles for me... your closer, go get it!   

With regards to maxing volumes - Will you not have various stages where you can adjust the gain to get the volume right?  I have the desk, my 'Rolls' mini-mixer and my P2 or Lekato wireless at which I can set levels; I seem to have headroom on all of these points and never lack for volume.  I realise we all use different gear but I thought the sensitivity of the Sennheiser IE100 were comparable... I maybe need to research. 

7 minutes ago, Al Krow said:

Thanks @warwickhunt, it's a good shout. I find my IE 300s to be a little quieter / less bright than the KZs and need to pushed harder to get to a comfortable stage volume. And our guitarist is using a stage monitor which is providing unwanted competition!

Interesting.  I find my IE100's less fatiguing and with better isolation I can easily get a comfortable level/balance; I generally stand 2ft from the drummer and I'm well isolated from that racket and I don't need to push the volume.  

20 hours ago, musicbassman said:

I’ve done rather a lot of dep gigs, so here are just a few examples of what might happen :-

 

“No problems mate, everything’s played in the original keys” – Err - no, I discover this lie immediately the song starts.

Drummer’s count in for a song may have no relevance to the actual tempo that follows.

Guitarist thinking that the first chord of a song is therefore the ‘key’ of the song.

“We play it just like the record” – apart from the fact you completely missed out the Middle 8.

Guitarist and kbds player are clearly playing different chords at the same time.

Whole band staring at you as if you are some genius because you played the actual main hook bass line from the song, rather than what their regular bass player Billy plays.

Band appear to have taken a vow of silence and all clearly hate each other both on and off stage. And the reason you’re depping is that their regular bass player has already abandoned the sinking ship.

“Can you arrive 7pm, we start playing at 8pm” – so, you’re set up on an empty stage by 7.15, but the rest of the band start arriving half an hour later with no apologies or explanations.

 

Actual fact, I love doing deps, they can be great fun, but equally can be very annoying and frustrating.

You have to be prepared for anything and everything  🙂

 

Yep, pretty much all of these +

Me - "Hi.  I'm the dep bass player".  Band - "Eh!"  "What?"  "Nobody told me we were using a dep tonight."

Me - "Hello".  Drummer (setting up) - "Hi, I'm your dep tonight and I got here early"  Me - "...no I'm the dep!".  Turns out we were both deps... in a 3 piece!  

The best one was turning up for a dep and finding (yet again) that the drummer is also a dep that night, no probs as I know his reputation and I know he is a top player.  We are 5 mins from first song when I asked if the drummer or guitarist would be bringing in the first number.  At this point there is a brief discussion during which we established the vocalist had given the drummer the sets and the guitarist had given me the sets... and the sets did NOT contain the same songs (don't ask)!  We wound our way through the first set avoiding looking like amateurs (compliments at the end of the night from people who had seen the band many times), inc songs where one of us might have had slightly less than 100% knowledge of the number.  Only butt clenching moment was when the guitarist got carried away and segued into a song that neither the drummer or I knew.  We had both at least heard the song so we had an idea but I spent most of the first verse and chorus with my eyes locked on the guitarist's hand for clues for chord progressions.  The 2nd set consisted of many numbers that weren't on EITHER of our lists but all four of us knew and they were busked live!

I love depping but I defo pin folk down to minutiae of detail and leave no question unasked and if I get the impression they aren't of a very good calibre, I politely refuse.    

I'm sure you have reasons for sticking with the KZs but just in case you hadn't considered... The Sennheiser IE100 are within that price band (£82) and I've found them far more comfortable, better isolating and a nice tone than the KZ10s that I also own.   

https://www.amazon.co.uk/Sennheiser-Ear-Monitoring-Headphones-Clear/dp/B096FJBM7B?source=ps-sl-shoppingads-lpcontext&ref_=fplfs&psc=1&smid=A3P5ROKL5A1OLE

25 minutes ago, warwickhunt said:

Where is it?  Is there an established BCer could liaise?  If it is the NE I can help.  

KENT so nowhere near me then!  LOL

Where is it?  Is there an established BCer could liaise?  If it is the NE I can help.  

11 minutes ago, RockyRaccoon said:

Hi just been reading through this and if someone could send me Dave’s number it would be greatly appreciated.

 

 

Done.

Gear stripped down, collect fee, pack vehicle and drive home... pretty much exactly as it happened!    

1 hour ago, Tally said:

My Red Wine 78 still has the thumb rest attached, with the bridge cover and the pick covers in me case.   As peep's have mentioned - why Wilkinson's?

12 year old thread... that might be a record!    

£34?

We tend to set up with FOH PA cabs slightly 'toe-in' to spread the sound to audience but not so far that they bleed onto the band area/vocal mics.

Toe-in so that sound is also less reflected off side walls and beamed more at the audience... if that makes sense.

I don't actually use the loop out as I don't want the parallel 'spur' coming back into the Tonebone.  It goes from the tuner out, to the other pedals and from the out of the last pedal to a separate input on the amp (as opposed to summed back into the Tonebone).  No earthing issues when I did try the loop however.  

Looks chaotic but I'm trialling ideas with pedals in my arsenal.  I'm wanting to get an early Cheap Trick/Tom Petersson tone, which was achieved with valve guitar amp set ups.  I'm also trying to introduce the illusion of 12 string bass but that is secondary. 

Tonebone (splitter) / Fishman Platinum Pro (HPF/tuner) / TC Bright Spark (Drive) / TC Plethora X5 (effects) > Tech Soundsystems Blackcat amp. 

I'm using the Tonebone to send the output straight to the front input of the ampamp, whilst taking a parallel out (from the Tonebone tuner out) to the Fishman and effects.  The Fishman has a HPF which I have maxxed out so that this parallel signal has as little bottom end as possible; I have the option to EQ this signal but not found it necessary yet.  The signal then goes to either the Plethora (for Chorus+Octave or Flanger and the option of the Spectracomp Compression) first and then the Bright Spark or vice versa... unsure if I have a preference for which first/last.  The output from here goes to the rear of the amp where there is an attenuated input which I can decide how much of this affected signal is bled in.  The good thing is the the effected signal volume/blend can be adjusted from the Fishman and/or the adjustment on the amp rear and it is not affected by increases in preamp gain or output gain.  Turning up the input gain gets me more of the 'clean' signal without adding the effected chain.  

I deconstructed a leather sofa (destined for the tip on FB Marketplace), I drew out a 'net' of what I needed and my (clever) wife stitched me a slip cover for my cab.  Looks superb and very hardwearing.  I did consider offering up a service to BCers to make bespoke covers all made from recycled/upcycled materials such as leather but tbh the hours that go into sourcing, deconstructing, constructing... not even accounting for the time it would take to liaise with buyers to get the correct sizes, makes cost prohibitive.  

Well that was an expensive 'click'!    

I now have to go off and buy that book as my wife never read it as a child.  However, hats off to you Luke that your circuit board will cost less than the 2nd hand book!  LOL

Same strings on basses with identical scale lengths should be no different in tension.

Could it be strap length/bass height/wrist angle related hence putting your fingers at a different angle?