Jack

I was gonna suggest the Will Power and was pleased to see it already being discussed. There's one in my P that does mostly D# but three songs a night in C#. It sounds brilliant, really meaty and punchy. It's a specific thing, there's not as much warmth or subtlety as you normally set with a P but it does the 'rock with a pick', JJ Burnell thing really, really well. I can recommend Fender Nickel Tapers, too. .45-.110tw.

I can understand some of this 'if you're paying covers you should be being paid' is simply because if there were enough good people playing for free nobody would pay the rest of us to do it. To specifically answer the question: I gig because I enjoy it and so that I can spend ridiculous amounts on gear and not feel guilty. As long as it's money I've earned from gigging who can complain?

Looks like a [url="http://www.thomann.de/gb/cat.html?gf=solid_state_bassheads&oa=pra"]Behringer[/url], it's new B-Stock but I haven't seen many used heads go for that.

I have to admit to having done at least 3 or 4 'first one for free' gigs at local venues but we've always been pretty confident we would get other gigs out of it and so far it's worked and we've been re-booked every time. I dislike it intensely, (no, I'm not saying 'hate'!) but unfortunately I've been outvoted 4 to 1 so there it is. As a band though we're simply not doing gigs where the fee has any kind of variance. Absolutely NO 'percentage of bar takings' or 'people on the door' gigs. How do we know how many drinks the bar has sold? Those gigs where there isn't a set fee are the ones where the landlord is always adjusting. How many times have to heard "well that's £300 for you guys but you used the PA, the soundman needs his £50 and someone stepped on a monitor, so here's your £90." Nope. Agree a fee, have it in writing and stick to it.

This isn't helping. Does anyone want my SR4?

I don't buy that it's an eq thing. I keep the bass and treble on the bass low and the amp has flat bass and treble with both high and low mids boosted. GKs are middy anyway and my Barefaced stack is hardly mid-shy.

[quote name='Jimmi Clarke' timestamp='1363220265' post='2010190'] Hello!! this is my first post!! this forum is very cool! I've been a Stingray user since i was 19 and i'm now 32 i've been a full time freelance bass player all that time too. I love the the whole vibe of the Stingray they built to be played! they're amazing apart from the stock pickups, they just aren't great. I fitted an East U-Retro on an HS Stingray I used to own and I love the east preamps but it sounded nasty. When I changed the pickup I finally had the bass I wanted! You did the right thing! Enjoy! [/quote] Welcome to BC Jimmi. What did you change the pickup to in the end?

Are we talking about the Nordy mm4.2 here? As has been mentioned, if they copied the EBMM formula properly why does this fix the issue? Are there any other decent replacements out there? If I could have a flat top (no exposed pole pieces) and solve the G thing I' be chuffed.

Hey folks. The band I'm in plays standard rock and pop covers. Usually I use my Fender P Bass and the set is roughly half fingers, half pick. We tune down half a step (for reasons I can't fathom, but hey ho) so most of the night my tuning is D# G# C# F#. This has been just fine with Fender Super Bass 45 65 85 110 that do brilliantly. We've recently added 2 songs however that are originally in drop D, so we're having to go to C# G# C# F# and the .110 is getting a bit floppy. I'm happy to go to a heavier string (something like a .120) but I don't want to write this bass off as always being in that tuning. I still want to play it in D# all the rest of the night and I like it in E for my playing at home. I'm worried that anything heavier than a .110 would be really bad for the neck in D# or E. Personally I'm tempted to just put up with the slight flop for the two songs. Thoughts?

[quote name='chrismuzz' timestamp='1362949603' post='2006694'] All these years and I never knew it was a Fender. Bizarre!! It's a shame they don't make more unique instruments, despite the fact that they don't need to. [/quote] IIRC his original bass was a custom luthier job and when AAF became somewhat famous Fender offered to make it into a production bass.

I really wish they'd put those into production. Thought it was a shame at the time too.

Where in that link does it agree with you? Specifically. Cut and paste the relevant bit if you want.

[quote name='Wiggybass' timestamp='1362934062' post='2006388'] Er...no...in this case the iPod would be the preamp. I can make a horrible noise by using an iPod in that way but it would only pose a threat to the PA if the power amp driving that was driven into distortion or oscillation. Look at all the bedroom guitarists who thrash their preamps to get massive distortion and never ever blow a speaker, nor are ever likely to - the pre and power amps are completely different. The preamp exists only to bring the incoming signal from the instrument up to a level where it can drive the input of the power amp. [/quote] No I meant the power amp in the ipod. It's probably what? A few hundred milliwatts? It's the EXACT same as the case you're describing of too little power driven into distortion into a speaker that's rated higher than that. Edit - Also, as has been said, a signal of a given power output that's clipping is the same signal regardless of what's clipping in the signal chain. Hell, it could even be a perfectly clean reproduction of a clipped recording. In our scenario it makes no difference.

Wiggy, go plug your ipod into a PA speaker cabinet and really crank it up so it clips. See how long it takes for that horrendous case of underpowering to blow the speaker.

[quote name='Wiggybass' timestamp='1362911648' post='2005993'] Sorry, don't follow the reference - which bit of the guitar amp is / was being driven into clip - pre amp or power amp? Or both? And why can't amps put square waves into cabs? [/quote] Usually both for that famous Marshall brown sound.

You mentioned you already have a pedal board so might I suggest any pedal with a volume control. I turn it off for my loud and passive Fender and turn it on to boost my active and quiet Musicman. I have a Mooer Pure Boost. Guitarist uses a Behringer EQ pedal and only touches the volume slider.

Just FTR the Berg 6x10" is actually a 4ohm cab. Jim himself said it used 6ohm speakers. 6+6=12, 12/3=4. I [u]believe[/u] this was so it played nicer with tube amps, which lots of people use with the NVs.

Briefly owned an original one in red. Loved it but moved it on because it wasn't getting used. Got an absolute bargain at £90, so hunt around for a good price. Oh, and avoid all of the cheap copies using the same body shape. Find one with Greg Curbow's signature on the headstock!

Bought a pedal from Jack. Excellent service, brilliant packaging, quick postage, awesome name.

A pedal usually goes there yes but a rack eq would either go between pre and power amps or in the effects loop.

EDIT - I COPIED THIS FROM THE POST ABOVE MINE, BUT SOME OF THE NUMBERS ARE SMALLER THAN SOME OLDER LISTS...... 3Leaf Audio Groove Regulator - 6 Adrenalinn II - 1 Aguilar Agro - 1 Aguilar Octamizer - 1 Akai Unibass - 2 Amptweaker Bass TightDrive - 1 AMT Slap Bass -1 Ashdown Chorus - 1 Ashdown Drive Plus - 2 Asdown dual band compressor - 2 Ashdown sub octave plus - 1 Barge Concepts VFB-2 - 2 Behringer BDI21 - 3 Behringer chorus - 1 Boomstick Bottom Feeder - 1 Boss BF-3 - 1 Boss CE-2 - 3 Boss CEB3 - 2 Boss CS-3 - 1 Boss DD-20 - 3 Boss DS-1 - 2 Boss LS-2 - 8 Boss ME-50B - 1 Boss ME-8B - 1 Boss MT-2 - 1 Boss OC-2 - 12 Boss OC-3 - 1 Boss ODB-3 - 7 Boss PH-1r - 1 Boss PS-3 - 1 Boss PW-10 - 1 Boss SD-1 - 1 Boss SL-20 -2 Boss SYB 3 - 2 Boss TU2 - 12 Boss TU3 - 1 Boss TU-12H - 2 Boss chorus ensemble CE-5 - 2 Bugbrand Bugcrusher - 1 Catalinbread SFT (clone) - 2 Catalinbread Teaser Stallion - 1 Chunk Systems Octavius Squeezer - 1 Danelectro French Toast - 2 Demeter Opto Comp - 2 Devi Ever Hyperion - 1 Devi Ever Cherry Pop - 1 Devi Ever SodaMeiser - 1 Digitech Bad Monkey - 2 Digitech Bass Synth Wah - 1 Digitech Whammy - 5 DOD FX-25 B - 1 DOD 250 - 1 Dunlop Bass Cry Baby - 3 DHA VT2 - 3 EBS Octabass - 3 EBS Multicomp - 4 EBS Dynaverb - 1 EBS Unichorus - 1 EHX Memory Man with Hazarai - 1 EHX Bass Balls - 1 EHX Bass Big Muff - 4 EHX Bass Metaphors - 2 EHX Bass Micro Synth - 4 EHX Big Muff Pi (Black Russian) - 3 EHX Big Muff Pi (Green Russian) - 1 EHX HOG - 1 EHX Octave Multiplexer - 2 EHX POG2 - 1 EHX Small Clone - 1 EHX Small Stone Nano - 2 EHX Small Stone (Black Russian) - 1 EHX Qtron - 1 EHX Qtron+ - 3 Exar PigNose - 1 Ernie Ball VP-Jr - 1 Fishman Platinum Pro EQ -1 FuzzHugger ABsynth - 1 Fulltone Bass-Drive Mosfet - 1 Guyatone MD-3 delay - 1 Guyatone PS-3 Phase Shifter - 1 HBE Psilocybe -1 Ibanez PD7 Phat-Hed Bass Overdrive - 2 Ibanez SB 7 - 1 Ibanez WD7 Weeping Demon - 1 Korg DT-10 - 2 Korg Pitchblack - 5 Line 6 M9 - 2 Line 6 Bass Pod XT Live - 1 Line 6 DL4 - 3 Line6 FM4 - 1 Maestro Brassmaster (clone) -1 MarkBass Compressore - 1 MarkBass Super Synth - 1 Marshall Guv'nor (MK1) - 1 Marshall Jackhammer - 2 Marshall Echohead - 1 Marshall Regenerator - 1 Maxon CP9+ - 1 Mellowtone Clean Chan Dirty Chan - 1 Mojo Hand Cream Pie - 1 Mooer Green Mile -1 Mooer Pure Boost - 1 Moog MF-101 - 3 Moog MF-102 - 1 Moog MF-105b - 1 Moog MF-107 - 2 Moog MP-201 - 1 Mr Zinky Master Blaster - 1 MXR Bass Octave Deluxe - 1 MXR Blowtorch - 4 MXR El Grande Bass Fuzz -1 MXR M-80 DI+ - 7 MXR M-143 Limiter MXR Super Comp - 1 Palmer Deepressor - 1 Peterson StroboStomp 1 - 1 ProCo Tubro Rat - 2 Radial Bassbone - 1 Radial bishot io - 1 Rocktron Cyborg Reverb - 1 Sansamp Bddi - 8 SansAmp Para-driver - 1 Seymour Duncan Tweak Fuzz - 1 SFX Micro Fuzz - 1 SFX S&M - 1 Subdecay Noise Box - 1 TC Electronics PolyTune - 2 TC Electronics Nova Modulator - 1 Tech 21 VT Bass - 3 Tech 21 VT Bass Deluxe - 3 Toadworks Mr Squishy - 1 Way huge swollen pickle - 1 Xotic X-Blender - 1 Yamaha OD-10 - 1 Z.Vex Box of Rock - 1 (clone) Z.Vex Woolly Mammoth - 5 (clone) Z.Vex Mastotron - 1 Z.Vex Wah Probe - 1 OC-2 and TU-2 afaics.