mike257

I've used a JCM2000 [i]as well as[/i] my bass amp when recording, it sounds immense. Why not try that. You just need to budget for a bigger van to shift it all

I used to own one of these (the one that's just sold on the forum, actually!), after GASing after it for ages. It was my second 'ray, picked up when I was touring and could justify the spending They're fantastic basses, but as mentioned above, there's nothing 'Ltd Edition' about them apart from the paint job and the fancy case, which doesn't take van abuse as well as the standard MM case does. As gorgeous as it is, I couldn't recommend paying full whack for one when second hand stingrays are so affordable right now. Everyone should own a Stingray, but I wouldn't pay shop prices for one at the moment!

[quote name='dood' post='289140' date='Sep 22 2008, 01:23 PM']I'd like to the the V-machine [url="http://www.smproaudio.com/index.php?option=com_content&task=view&id=74"]http://www.smproaudio.com/index.php?option...=view&id=74[/url] in a rack mount format, so that I could use it with my system and eventually take it on tour with IEM's.. perfecto![/quote] Have you checked out the Muse Receptor, Dood? That's a rackmount VST-running-thingy, might be just what you're after. Comes with a whopping big hard drive so you can keep loads of plug-ins on there, and a bunch of assignable knobs for tweakery.

The SVT-3 doesn't seem (to my ears at least) to 'dirty up' like the classic Ampeg sound, as it's a few valves short of it. Does sound great though. I'm thinking of getting something DHA to dirty mine up once money's not so tight.

Mine was and is a maple necked stingray, in natural with a black plate - and i got it in '05! I guess i could upscale my ambition, and i do love my 'berg, but if i had to strip back to one guitar, the ray would be the keeper.

[quote name='Musicman20' post='281102' date='Sep 10 2008, 02:12 PM']I am a massive fan of the modern Cave-In bass sound....its so meaty and thuderous![/quote] If I could nail that sound, I'd never GAS again :wub:

They do seem to have chilled out a bit now... my drummer is prone to going in there and getting horrendous ESP's down, and abusing everyones ears with metal riffs, and they've never give him a hard time about it. Think it depends who's working. Terry's proper sound, but he's always downstairs these days.

[quote]Dolphin had a great stock when they first opened but has now gone dramatically downhill bass-wise. They've gone from proper Warwicks (including a nice thumb dirty blonde), Laklands, the whole Musicman range to Warwick rockbasses, a few fenders, some low-midrange ibanezes and the odd musicman. They still have the best stock out of any of the shops though Nice to see someone else in Liverpool, by the way![/quote] I bought the 2005 Ltd 'ray off them on the day they opened, I was apparently the first person to buy anything 'good' off them! I was tempted to blow my credit rating on that black Lakland DJ they had in a while ago too. And yeah, good to see there's not just me here representing our cultural capital! Would I know you from any bands round here?

I've only heard the single, and the couple of new tracks on the myspace, but my word. 'Sex On Fire' is one of the best rock singles I've come across in a long time. Got to agree with Tee about his voice, you'd swear it was a different guy than the one mumbling his way through 'Mollys Chambers'. Might try and get tickets for the Liverpool show, if I'm not too poverty stricken next month!

I can only sympathise. Saying that, I've been in there when they [i]do[/i] let kids loose on the drum kits, it's hell on earth!!! Dolphin have nicer basses in anyway, it's the only place worth going if you're having a GAS attack!

Loads of useful info here as always... I'd be interested in those books/websites too, OG, if you could see your way to dropping me a PM. Muchos gracias!!

I'm going to throw in a recommendation for Sandberg here. I picked up a California JM4 off this very forum not long ago, and it actually gets more love and attention from me than my Stingray does, which I thought would never happen in a million years. It's got a real range of sounds from the Jazz/MM pickups and 2 band eq, and there's a active/passive switch for going old-school. Most importantly, it plays like an absolute dream and is one of the best put-together basses I've ever come across. Ticks all the boxes for me. You'll pick up a new one inside your budget, and could get a 5er if you need the extra range. IMHO, of course!

The case my T-40 came in has got a guest pass from a Paul McCartney world tour stuck on the side! Never managed to find out who it belonged to though. And I don't know if this counts, but I lent Norman Watt-Roy my Ampeg when I opened for Wilko Johnson. He said he'd never really used much Ampeg before, and that he loved the sound of mine and might get one!!!

I actually like the sound of this purely on the principle of simplicity. My perfect amp would just have a volume knob and an on switch, and sound great without tweaking

I've had one for about ten years, it was my first bass, and I still love it now. It's currently in a couple of pieces getting a rebuild, but I can see it getting gigged alongside my 'proper' basses, and not feeling out of place. Great bass for the money, and a good starting point to mod from too!

The producer has responsibility for much more than just which faders get pushed on the desk. It's actually all about communicating, and people skills. A good producer gives an artist the environment, guidance and assurance they need to give their best possible performance. The engineer has a purely technical role, but the producer has to keep all those egos in check!! Obviously every band spends an enormous amount of time crafting their sound and their songs, but sometimes it's impossible to be completely objective about something that you are so personally and emotionally invested in. A producer can offer an objective and independent viewpoint, that can bring to light different ways of approaching a not-quite-right song, or just polishing up the rough edges of something that's already nearly there. I think the contribution they make is severely overlooked.

Time spent understanding and appreciating other instruments is time well spent indeed. It's a long time since I've [i]practiced[/i] bass with a view to actually learning new things. I spend more time writing now, and playing with arrangements and sounds. I actually took almost a year out from serious gigging to get to grips with how I wanted to write music, and have now hit the point where I'm putting a band together on my own terms, and can call myself a songwriter for the first time in 10 years of playing music. Producing and arranging is an endlessly satisfying and surprising thing to dig in to, and it can open you up to new ideas and new avenues of opportunity. You never run out of things to learn from.

I'm another lefty-righty here, just always learned that way. It doesn't stretch to drumming though, I have to turn the whole damn kit round if I want to sound anything more than slightly competent.

I've done the 3-guitar band thing, it's ok if they all know what they're doing!! Anyone heard Oceansize? They've got three guitarists, all kinds of bleepy electronica, and a total monster of a drummer (not to mention some bizarre time sigs), but they manage to find a space for it all.

I'm sure there was a nice 5 string Stingray in the for sale section for £550. Can't go wrong with that

[quote name='alexclaber' post='264582' date='Aug 18 2008, 02:06 PM']Why not just stick with the TE combo? Alex[/quote] Ah, i've just read the thread again [i]properly[/i], and realised you already own both. Well, if you're happy with what the TE is doing for you, i'd agree with Alex and say stick with it. If it ain't broke.... Mike