Boodang

The covers band I'm in decided to solve its monitoring problem by going with IEMs. To do this we use a Behringer XR18 as it has sufficient input/outputs.... oh, and we use an Ekit as it A. Keeps the stage volume down B. Makes the foh and monitoring mixes easier and C. Helps with our tinnitus. However, buying all the gear is not always easy when it comes to band politics and who coughs up. I guess it only really works when the whole band agree on what they need and how it gets paid for.

I have a spare bass I keep just for the purpose of swapping out strings for when I want to try something different, quite often various nylon tape. So as not to damage them during the on/off process I've installed a bridge so the ball end slots in and doesn't require the whole string to be pulled back through a hole. That way once the tension is released the string just lifts straight off. Given that the nylon strings are quite delicate I haven't had one break yet using this method.

Packing/unpacking/transport is such a big part of the gig experience that collectively our covers band is making a concertive effort to make it easier... and in the process improve our sound. To that end we've gone full IEM to avoid lugging monitors around, and an xr18 so everyone is in charge of their own monitor mix. So 2 FoH speakers is it and it's definitely streamlined the process. I play drums in this band so still have the most gear, the bass player turns up with just his Steinberg headless, but at least everyone chips in and helps packing up.

IF you decide to replace the pup, I can highly recommend this from Creamery pickups. Really does have bark and cuts through. https://www.creamery-pickups.co.uk/custom-handwound-pickups-from-the-creamery/scatterwound-bass-pickups.html

I have a CR4 which initially I bought just for a laugh but have ended up using it for so much. Once depped for a mate in a Hendrix tribute band and much to the consternation of the guitarist I used this! It ended well tho as it was quite the novelty but it's actually a very versatile sounding instrument.

.... but I will let you look at it!

Don’t quote me but I think they are the only synthetic core BG strings on the market. I can best describe the feel as flexible and ‘buttery’. And they are not too dull in their treble response. Be very careful when handling them, they are not delicate in the least when under tension but they are easy to damage straight out the packet.

The nearest strings to DB for the BG are Galli synthesis as they are flat wounds with a nylon, not metal, core. If you want to go down that route.

PS if you want to get it sorted, get a fretless and practice with that as it forces you to have good technique.

The 'physical-ness' of the bass guitar is one of its primary challenges. Make sure you're giving yourself the best chance with the correct technique (Dan Hawkins on youtube has some good tips). No one really has hands big enough to stretch on the first 5 frets, so it's just a case of getting comfortable with it. As said previously, use the DB style technique and not one finger per fret.... and don't get lazy with the pinky!

Who would take a £2k+ bass to a gig?…. Apparently you would!!! Or don’t DBs count as a bass?! And way more delicate the a bass guitar. But I jest of course! However, I agree with others… I can afford an expensive bass and I’m not going to be precious about it. My basses get used and abused and gigged, scratched up, beaten up and if they’re lucky I might polish it occasionally. I don’t buy them to just look good! Thinking of my last gig, our bass player borrowed my EUB and sei, I had my top of the range Yamaha ekit, xr18, foh speakers and cables, and even my synth… gigging is an expensive business, or at least it can be.

I play drums in a couple of bands. So, for jazz it's an acoustic kit but for everything else (covers, blues and a power rock thing!), I use an electronic kit (Yamaha DTX6K3-X).... and it's awesome! Pros & cons obviously but overall it's great. No sound on stage other than monitors is the biggest thing to get used to and yes, it does look like you're playing 'my first drum kit'! But.... I'm getting a consistent sound out of the PA, I've got a choice of kit samples to choose from to best suit the song/band/venue, and I'm not going deaf as I can control the volume far easier (which is also a great plus for small venues where you can go full smashy power mode and be as quite as a church mouse!). One of the things I found over the year and half I've been using the ekit is that you have to get into editing and eq'ing the kit to make the most of it live. I have various presets of each kit depending on the venue and PA I'm going through. So a full PA system with bins does not have a problem reproducing a standard Yamaha 'absolute' kit but for smaller systems I've eq'd the kit so the emphasis is more on the mid punch and click of the bass drum, less resonance on the toms, plus keeping the decay on cymbals a bit shorter I find helps clean up the things. Also, I use sample stacking a lot, so my BD is a 22" and 18" combined, and I've done similar for the toms. My HH has a setting on the half open where I've introduced a bit of tambourine so it cuts through more. Lots of thing you can do with an ekit that are obviously impossible with an acoustic. We put everything through a Behringer XR18 and IEMs, so much appreciating the lack of onstage volume. Takes a bit of getting used to but overall a plus for me.

I remember paying £1500 for my custom Sei back in the day. I think what I find most depressing is that Warwick are now charging for a bolt on what they used to for a neck through, and the NTs have gone through the roof. Still, the advent of quality mass produced cnc’d basses are most welcome and my fav bass is my Squier jazz.

Wal… the most overrated overpriced two pieces of wood to ever be bolted together. Not that I have a strong opinion about them or anything.

Drawmer 1973

£50 worth of wood and a cnc machine.. not sure it’s worth the price tag.

Ah, the Sei is so beautifully made I've hung it on the wall as a work of art!

I've got a headless Sei and found a quite a few normal strings that can't be clamped, including LaBella and D'addario nylon wrap, TI jazz and Galli Synthesis. Basically anything a bit delicate just unwraps under tension if you cut and clamp. So I'm restricted to DBE or strings with sturdy windings. What I'd like to do is get a headstock fitted to the Sei but everyone I've approached says it's not possible.

The string angles through the bridge are dire but doing it ‘properly’ means double ball end strings only and massively limiting your string choice (in theory you can clamp strings but not all strings like that, TIs in particular). Doing it properly in this case probably means a headstock!

This!

The reason I use the TC Electronic Spectradrive is because of the toneprint capabilities. You can download from a wide selection of drive 'signature' settings until you find the one that suits. And there's plenty to choose from.

Yep, this is the cable I got, and I’m thoroughly pleased with it. Go for the gold, the silent stops the jack shorting out but it has a very limited operational lifespan, so in my opinion not very practical.

Given the 10 year gap I’d like to think the op has had enough time to learn it by now!

If you go for flats then you can't go wrong TI Jazz. A tad expensive but worth every penny. I also use Galli Synthesis strings, slightly less bright but the only bass guitar strings on the market with a nylon core, so has a very unique, flexible feel.

Definitely 2nd this. I just bought a Mogami Ultimate and a Sommer Vintage guitar cable from Design-a-cable and they are things of beauty!