cameltoe

I found my US G&L L2K to be too confusing for me and moved it on. Personally, I thought it was trying to be everything at once- a little bit Precision, a little bit stingray, with a touch of Jazz. I'm told you can make it sound like any of them, but I just couldn't get it to sit in the mix like a precision. I tried to get a good thump from it, but everything just sounded too hot and aggressive when I tried and cut through too much. I perhaps should have persevered. I also couldn't get it to set up and play how I like, and found the micro-tilt system to be confusing. I'd probably pick one over a stingray, if that's what I was after, as they are definitely more versatile than them, if not as iconic. The US was a very high-spec and well built piece of kit, and mine had a relatively slim neck (did they not offer different neck profiles?) but in fairness I would probably go for the Tribute next time. I'm gassing for an M2000 now though. If I could find an orange/ blueburst with maple L2k tribute though I'd be seriously tempted.

I'm surprised so many people are so adamant cheap wiring kits make absolutely no difference to your sound than more expensive kit. On another thread several people doubt the tonal characteristics of wood choice too, and this seems to come up frequently. Many people are of the opinion that the wood used has absolutely nothing to do with the instruments final sound. I'm seriously considering nailing a pair of wizards to a piece of 2 x 4 and throwing my Precisions in the bin.

[quote name='KingBollock' timestamp='1373323241' post='2136301'] I wish I hadn't done that now, I'm a little disappointed... Having said that, I don't know what to be disappointed in, I don't know which is wrong, the callipers or the strings. [font=courier new,courier,monospace]The strings are: .105 .085 .070 .050[/font] [font=courier new,courier,monospace]And I got:[color=#fff0f5]......[/color] .103 .083 .067 .048[/font] The strings are D'Addario Chromes. I'd test other strings but they're the only ones I even know the make of , nevermind the gauge. [/quote] Is there a way to calibrate the calipers? Seems like the base setting is off, as the readings are consistent. Like you would on scales, for instance, to make sure they read 0.00 before anything is placed on them.

I don't think the classic series are Nitro. If we are talking about the same classic series (MIM). The two I played were very thick poly finish. As suggested, highway ones, a good bass for a good price if you can source one second hand. The new American Special series has a wood stained finish which I played recently and is rather nice. Aside from that you can do what I did, and buy a very nice example of the bass you want second hand and refinish it in Nitro. I'm an idiot, and I managed to do it. However I was going for the worn look. If I'd been aiming for a flawless finish I would have ballsed it right up.

Thanks for the advice guys. I'm hoping I don't have to change the pickups, as they sound fantastic and do have a very deep sound that I didn't expect from a jazz. I wouldn't want to change the tone, just have an even string volume! If the problem does turn out to be the pickups, as expected, would a rewind from someone like Wizard eliminate the issue but keep the tone?

Changed the strings- no change Lowered the bass side of both pickups- no change! Is this a common characteristic? If it is, I'll just live with it.

I'm a Precision man through and through, but the Jazz I just bought from vmaxblues on here is starting to make me question that! The bass is fantastic, and I'm loving it, however, the E string seems to be much louder and deeper than all other strings. I've restrung it with Fender nickels, thinking it may cure it, but no. The pickups look to be set ok, although I may try and lower the bass side a touch to see if that helps, but ALL the other strings seem fairly uniform in volume and tone, except the E string, which basically sounds like a Precision tone! I've not heard this complaint before, and the only other strange thing I've noticed is there is an earth buzz when I DO touch the E string pole pieces, which is kind of the opposite of the usual earthing problems. I have been running both pickups full volume, and as I understand it there is a 'sweet spot' if I back off the volume on both p'ups a touch, but I'm yet to fully understand that as I've only played it a couple times. It's a Silver Series Squier. Any ideas?

To quote our previous drummer, who is a sound engineer as a profession, "No one's listening"

Yes we split, with the tops coming off the top hats

Hi guys, Hopefully this is in the right section. We have just bought a pair of JBL EON 518s subs for the band, These replace our single SWA1501 that we used previously, with SRM450 tops. The subs take care of just kick and bass. The issue I'm having is the output of the subs doesn't seem to be all that great. With the single Mackie, when setting up I would set the sub output level centrally (halfway) as recommended, (the SRM450's are [b]always[/b] set at halfway), and once I got all the instruments through the PA and had an overall soundcheck, I would sometimes just increase the output level of the sub a [i]tiny[/i] bit, to get a full, punchy sound that was a nice balance between the sub and the tops. I would still have plenty of headroom on the sub's output level, and plenty of headroom on the kick and bass levels on the desk. The JBL's, however, require their output level to be completely flat out, both sides, to really even be audible. Even with that I'm setting the kick and the bass levels far higher on the desk than I ever had to with the Mackie. I refuse to believe that one, single Mackie SWA1501 had more SPL and more headroom than [b]TWO[/b] JBL EON 518s, but it does appear to be that way. In fact, it feels like the Mackie had twice the volume of both JBL's. I must be doing something wrong, but I can't figure out what. The JBL's do sound fantastic, and I have a deeper fuller sound than I ever had with the Mackie, but I seem to need to run them absolutely flat out, and really pushing the levels on the desk, and even then they are not quite loud enough. They are running fine, not getting hot, and haven't had any problems with them, so I don't think there are any repair issues with them, but I may be wrong. Anyone help?

[media]http://www.youtube.com/watch?v=asO8FeGAmrk&list=PLEBCA72F83EA20793[/media] This album had some pretty bad-ass punk basslines. Couple of cool little bits in this song. I apologise for the profanity in the song title, but youtube seem cool with it. this is a punk thread after all! Back when I used to listen to them I called them a punk band, but what do i know!

Dan bought my barefaced compact, and the whole transaction went swimmingly! Top bloke

Bought Stuart's Silver Series jazz, and very happy I am too.

I'm completely used to this situation, and it is annoying especially if you're like most of the bassists on here that spend years playing all sorts of gear until you find the sound that works for you. You then spend thousands on actually buying the stuff, hours of rehearsals and gigs to get the EQ sounding sweet in a band situation- warm, but not muffled, attack, but not too sharp, good note definition, but not too zingy- strings at that 'sweet spot' of sounding played in but not dead- finally the big moment comes and you get to play through a real PA, on a real stage, with all the time, effort and money you have spent on your sound ready to be unleashed to the world..... And what happens? The soundman points at a little blue box, and asks you to plug your bass into that Behringer DI box, then asks you to play something for around 10 seconds, and you're done. All the while your guitarist, with his cheap pickups, ridiculous tone-sucking overdrive pedals, and solid-state laney hardcore amp, gets a 57beta meticulously positioned, and at least 5 minutes of sound check time.

[quote name='molan' timestamp='1373553821' post='2138981'] I don't think the music after punk isn't real - it just isn't 'punk'. I think lots of people referred to it as 'post-punk', 'new wave' or even 'oi' and 'hardcore'. And then there's the punk revivalists of the later '80's and early '90's - some of these are still going now! I think anyone who was around during the height of punk 'proper' would acknowledge that anything beyond '79 has to be 'post' punk. Exact timing of punk's demise will always be a source of great debate. Eg A lot of hardcore Clash fans will say that Give 'Em Enough Rope was the end of the Clash as a punk band because of Sandy Pearlman's overtly American rawk mainstream production. Meanwhile others will say London Calling was the last punk album proper and yet more will say the spirit managed to survive Sandinista and continued until Joe Strummer's untimely passing. For me it was the release of Public Image in October '78. Mr Rotten resurfacing as Lydon, Jah Wobble's sinuous bass and Keith Levene's jangling crashing guitars signalled the death knell for me. The flat I lived in had housed Billy Idol for a while and was visited by many a Pistol, future Ants, Pretenders, the odd New York Doll and even the Clash turned up one night on the way to see the Mighty Diamonds in Harlesden (I bummed a free ticket, yay!). By early '79 most of the London crowd were moving in droves to what became the New Romantic nightclub scene. A lot of them, including me, still wearing the same colour nail varnish and mascara and using Krazy Kolor on top of peroxide but with less leather and more lace [/quote] The irony in this argument being, although you consider nothing after the punk era to be true punk, London Calling, which you say some consider the last true punk album, is actually quite devoid of what I would class as true 'punk' songs. So now we're into a debate on how you classify punk. I've even heard some question the Clash as true punk due to Joes boarding school, art college upbringing.

The only thing that needed changing on my old CV '50s P was the pickup. Sourced one from here, job done! I can see why you might like to change the tuners though.

[quote name='Lowender' timestamp='1373514637' post='2138473'] Some cool things in there, but honestly most of that stuff sounds like a collection of riffs I came up with the first week of playing bass. [/quote] Oooh get you!

My roadworn neck usually needs a little adjustment in the summer and winter. Only a 1/8th to a quarter of a turn each time required. I have my action ant-gonads low as well, with just a hair of relief.

[quote name='Ziphoblat' timestamp='1373487794' post='2138269'] Not really classic punk, and perhaps not even punk by the standards of some, but I always loved the bass to this track (not really a big fan of the band though): [url="http://www.youtube.com/watch?v=R34SA1qTfQw"]http://www.youtube.com/watch?v=R34SA1qTfQw[/url] [/quote] I used to love AFI, when they were classic hardcore. They went a bit overboard with the goth angle for my liking.

Guns of Brixton? Surely that's the most well known? I really like matt freemans 100mph scale runs on Animosity from the first Rancid album as well. At the time I liked the melodic edge Randy Bradbury gave to Pennywise after JMT passed away, the Full Circle album had a new edge to it because of this. If anyone mentions Mark Hoppus they're getting punched in the balls!

Any Matt Freeman, but I specifically like Maxwell Murder.

Not a tribute band, but I do quite like the Red Hot Chili Pipers. On the subject on names that haven't been used yet, we always figured a folk tribute to Duran Duran could be called Bodhran Bodhran. I did recently drive past a venue offering a Bon Jovi tribute band for the forthcoming weekend, who were called Bon Jovie. Rubbish attempt.

Boring, I thought this was going to be a thread about jetpacks and robot servants.

[quote name='haysy' timestamp='1373371727' post='2136754'] [i][b]What is the best route into playing the wedding circuit?[/b][/i] We play pubs for £200-250. We are a 5 piece pop/rock covers outfit p[size=4]laying [/size][size=4]from 60s to present day tunes with female lead vocals plus sax and keys. I think we are petty versatile so should be able to fit in with the wedding scene but have now idea how to get into it? Any advice please?[/size] [/quote] It'll be a good year-18 months before word gets out about you, eventually someone will have seen you play/ heard about you from someone who has seen you. Be careful what you wish for mind!