Bottle

I use a really short one (2m/3m) if I'm using my practice amp, a longer 4m one with Neutrik Silent R/A jack on it, and a <10m (well, it started out as a twenty metre, then a 10m and short patches - the 4m above plus 2x 3m). the 10m one got mangled somehow (somebody probably ran over the end with a fully laden trolley ), so it became 8m long, and had the addition of a normal Neutrik R/A plug on it BTW, I make all my own cables, so they're customised to a certain extent HTH, Ian

BTW, I thought I'd throw up a photo from the 2010 London Bass Bash and from a 'charidee' event I did last summer, just to show the rig in all it's glory [attachment=92979:B5D.jpg] [sharedmedia=core:attachments:60613] I think I kinda 'overpowered' the guitarist with his 15w practice combo and my 1300w, three-channel, four-cab behemoth - I have chosen to call it the B5D (Bottle's Big BadaBoom Bass rig.....of Doooom) Ian

[quote name='pete.young' timestamp='1320947967' post='1433652'] Why not try taking a feed off your effects loop as Ian suggests and go into the PA via the effects unit(s)? That would get you out of carting another rig, and PAs work pretty well with full range signals like keyboards. [/quote] BTW, the 12" PA cabs were part of my personal bass rig, the church PA was a pair of EV sx300 full-range tops handling the vocal and keyboard duties LOL [quote name='silverfoxnik' timestamp='1320948312' post='1433664'] I've no doubt it would Pete, so that could be a way to go.. The PA option would be less hassle and i have discussed that already with the other guys in the band. [/quote] Might work, but possibly some fearsome phase cancellation issues if the PA cabs are some distance from your bass rig HTH, Ian

[quote name='silverfoxnik' timestamp='1320940674' post='1433515'] Thanks Ian Brilliant..I love the sheer outrageousness of that rig !!! Did you have an Edie Stobbart account for shifting it around.... [/quote] Naw, it all went into the back of my 1200cc VW Polo with the rear seats down - honest! [quote name='silverfoxnik' timestamp='1320940674' post='1433515'] Hmm?? I have considered whether a 212 guitar combo might do the trick actually but was worried about whether one would have enough power..but if the frequencies are split as Oli and you say, then maybe that could work? Roll on the weekend when I can try some of this stuff out at volume [/quote] Sweet! That, of course, is another option - using a 212 Gtr combo, especially if that also has switchable clean and dirty channels, gives you more options. HTH, Ian

Moving house soon, plus need to free up some cash, so the following items are up for sale: [s]EBS 4x10 Cab[/s] [s]EBS 1x15 Cab[/s] [s]GK MB500 Head[/s] [s]Rode NT4 Microphone[/s] [s]Behringer CX2310 x-over[/s] [url="http://basschat.co.uk/topic/160480-for-sale-miscellaneous-speakon-cables-for-pabass-use/"]Speakon Cables[/url] I'll add and remove links as and when they go up for sale (and when they're sold) - best to check back here regularly Ta muchly

[quote name='silverfoxnik' timestamp='1320850168' post='1432236'] Hi Folks, Has anyone got any experience of how best to use 2 rigs at the same time? I want to use my H&K head & SWR cab for my pure bass sound and another, slightly smaller rig just to handle FX sounds. What could the potential problems be other than money (obviously) and having to carry around so much gear? I'm thinking in terms of how to drive two rigs - would I need something like a Boss LS2 - and also, problems with having similar or different speakers in the 2 rigs, speaker placement etc, etc.. In my head, it all sounds great but I'm sure it's not that easy... Is it?? Thanks Nik [/quote] I've done all kinds of funny stuff with bass rigs - you've probably seen me trundle into the Bass Bash with one or two in my time Best rig I've got (had) is a 1x15 and a 4x10 and a pair of 12" PA cabs - three channels, head plus a stereo power amp. God, that could shift some air! Ran the 4x10 clean and full-range from my GK head (about 500w into 4-Ohms), with a two-band crossover feeding the stereo power-amp. One channel was the low-passed stuff from both input channels (input #1 was a direct line-out from the GK, input #2 was from the SansAmp in the Effects loop) feeding the 1x15, channel 2 on the amp was the high-passed output of the SansAmp only, into the pair of PA cabs. Sounded immense, but a little impractical hehehe Think there's a photo of my rig somewhere on BC the total power handling was about 1300w - silly territory If I was to use your rig, I would set up the H&K / SWR as your main (clean) bass sound then take a line out (the tuner out or Efx 'Send' is ideal for this) to run through your effects into a smaller rig (doesn't even have to be a bass rig either - several people on here use a guitar stack for effects, just high-pass stuff going to a guitar head). SansAmp or Big Muff type pedal (or rack mount etc) for the effects etc. BTW the bass big muff can be used as a signal splitter too, has a dry/clean output, as well as an effected output (with clean blend). HTH, Ian

[quote name='GarethFlatlands' timestamp='1317309989' post='1389349'] I'm sure I read somewhere that Billy Corgan recorded the basslines on the albums as he's a massive control freak. [/quote] Yes, I've heard that too - my understanding is that Corgan and Chamberlain were the driving force behind much of 'Mellon Collie' and that James Iha's rhythm guitar parts and D'Arcy's basslines were all done in a locked studio by just Corgan, and Chamberlain on drums. The rest of the band were just for the live tours. In that case, add Billy 'No Mates' Corgan to the list of (Somewhat) forgotten bassists then Ian PS seems to be going out of his way to annoy just about everyone - typical bassist hehehehe

http://www.youtube.com/watch?v=w3VqY9dp8SE REO Speedwagon - Golden Country, with Gregg Philbin on bass playing duties

Well, I've tried to find something suitable from each end of my musical leanings - here are the best examples: http://www.youtube.com/watch?v=_RTtQSIvbTc Incubus - Have You Ever (Live), back during Alex Katunich's days http://www.youtube.com/watch?v=Uc_rAX6z9Yc Paul Weller - You Do Something To Me, Damon Minchella at his best (although it was Yolanda Charles playing on this track on the studio album) HTH, Ian

[quote name='eude' timestamp='1317300399' post='1389219'] You could always have your P/J bass routed to take a MM style pickup, assuming it's got a pickguard. You can use a pickguard to cover all kinds of horrors. If you don't like it, you can probably put it back as it was easy enough too... Eude [/quote] [quote name='Ou7shined' timestamp='1317300632' post='1389227'] Good call. [/quote] Now that is some lateral thinking! However, I have just defretted my P/J and I'm looking to keep this configuration for a while, but it has got my creative juices flowing, especially if I can purchase another similar P/J bass. And you're both right - a pickguard can cover a multitude of sins! I should know - I've dismantled my Squier several times Cheers, Ian

[quote name='Ou7shined' timestamp='1317295878' post='1389119'] One could argue that the good old PJ set up is what you are describing. But what you are getting at could be easily achieved by a wee bit of jiggery-pokery on any HH bass - a G&L L-2000 for example. [/quote] Of course!! And yes, I do have a P/J arrangement on a bass - but I dunno, there feels something lacking. Maybe it's the cheap-ness of the Squier, in that they've skimped on the quality of the pickups, because to me, they don't sound, well, terribly well-matched as a pair. Maybe it's also just my ears being completely shagged Otherwise, it does tick all the other boxes - maybe I could look at a series / parallel switch mod to the P pickup, and that would get me there perhaps. But I do like the look of the MM pickup - to me, it's much more 'manly' if you see what I mean - it's those exposed pole pieces, they just oooze 'rawk' Anyway, thanks for the replies so far chaps! Ian

Well for me, the two most under-rated and seldom-mentioned bass players (and among ones that inspired me to play bass in the first place - incidentally, both played for Paul Weller during his early solo period - Wild Wood/Stanley Road/Heavy Soul etc) - [b]Damon Minchella [/b]and[b] Yolanda Charles[/b] Maybe chuck in [b]D'Arcy Wretzky [/b]and[b] Melissa Auf Der Maur[/b] from Smashing Pumpkins - don't often see them mentioned on here, and have laid down some solid rock basslines during their tenancy in arguably one of the biggest Alt/Rock outfits of the last twenty years - it's always the sodding guitards/frontmen/drummers who hog all the limelight [b]Colin Greenwood[/b] from Radiohead also springs to mind - again with the guitards/frontmen Ithankyou, Ian

Howdy chaps Have been following several threads about basses with two (or more) pickups, particularly those with the MM-style humbucker and a single-coil arrangement. It seems to me that the most popular configuration is that the humbucker is positioned towards the bridge and the single-coil in front, usually in a mid/neck position. Are there any basses out there with an alternative arrangement i.e SC in the bridge position, maybe the typical '60's/'70's Jazz position (bridge) and a humbucker in the forward position [i]a la[/i] Stingray MM etc? The reason I ask is that on my Jazz-esque style bass, I much prefer playing over the rearward Jazz pickup to get the 'burpy' tone, and rarely venture forward, even when I have the pups switched in series. I am considering altering the wiring on my Ibby to make the rear pickup more prominent/fully on when in parallel mode, but I digress....... I've also come to love the rich tones I can get from a humbucker (with the obvious benefit of greater noise immunity). A 'Ray 4HS would seem to be up my street having (briefly) played a superb 4H at a jam night, plus having the Vintage 'Ray copy in my possession now too. The only niggle being the placement of said pickups - I would much prefer the SC pickup to be at the back!!! Also, as a nicety, I would like some sort of coil-split or switching arrangement like the 4HS, but I'm happy with V/V+2EQ or V/B+2EQ. A bonus would be to have the MM pickup coil-split for series / parallel. Am I looking for something that doesn't exist in a commercial format i.e am I going to have to go to a luthier to build one? I do adore the Jazz shape and neck profile, so it might be a case of modding a COTS Jazz body with a MM route in the neck position instead of the second jazz pickup. Obviously pre-amp choice would also be important - I'm thinking John East J-Retro (are these available as V/B + 2EQ?) or an Audere JZ3B. Any help/thoughts would be appreciated. ta, Ian

[quote name='charic' timestamp='1317146478' post='1387374'] What about some tenacious D [/quote] Hell, Yeah!! 'Tribute' FTW

Bit morbid, this thread? Still, if I had the choice it would be Led Zep - Stairway to Heaven all eight minutes of it please just played on an acoustic guitar + recorder . Might just be a laff to have the Rolf Harris version Maybe something classical as well - my gran had Vaughan-Williams' Lark Ascending at her funeral, very sweet, mellow piece. Then to round it off, something a little bit more in the contemporary Christian genre. However, if I was looking to have the last laugh, then Always Look On The Bright Side Of Life, followed by Smoke Gets In Your Eyes / Smoke on the Water (if being cremated ) HTH, Ian

[quote name='silddx' timestamp='1316370567' post='1377085'] TBH, Mark did a cracking job of changing my mind about them, they sound absolutely superb, have 24 frets which I really do use, and I want one in shell pink [/quote] [quote name='Musicman20' timestamp='1316373065' post='1377144'] See, I'm tempted by one of those Mayones as well. Not sure which colour I'd go for. [/quote] Well, in that case, I think you would also have to come up with a suitable name for said bass, maybe along the lines of 'Thousand Island' or maybe 'Marie Rose'? Good luck in your search, mate Ian

[quote name='silddx' post='1369001' date='Sep 11 2011, 12:42 AM']Guys, you're right, thanks! I just picked up a lovely Status Vintage PJ from Happy Jack, and this will be my main bass for a while. I think I will wait and see if I can get a real Warwick neck, fit it and fit the battery box I've had hanging around since before the build. I just needed the money really, to get a good reliable bass that feels right. But I've sold my Roland kit which covered a fair bit of it, so I think I'm cool. Strangely, as soon as the neck let me down, I lost a lot of my attachment to this bass, but it does play and sound great, so it will stay and get sorted at some point. Thanks again, I need that talking to Cheers, Nx[/quote] No worries fella, glad you've seen the light and come to your senses Good luck with your new bass - hope you form that attachment to it that you've been looking for in a bass - I know I have with all of mine. Picked up a Vintage-brand all-passive 'Ray copy a month or two back, wasn't exactly sure it was for me, and it got relegated to second or third bass, but dragged it out for a church gig last weekend, and I'm sooo glad I did - wow, what a tone monster! Maple board and flats = Win! Plus I'm defretting my PJ at the moment - it's currently knocking around at my Dad's while it gets the slots glued up. Figured I didn't need two fretted J-necked instruments with rosewood boards..... Must say, I was also surprised you got rid of the Jazz - that was truly a thing of beauty and I'd have sold body parts to get my mitts on it hehehe Best of British there, Nige Ian

[quote name='silddx' post='1364518' date='Sep 6 2011, 07:54 PM']Sadly, I'm going to have to part this out. There are a couple of little niggles that bug me, like the pain it is to change the battery, but the worst is that the neck is moving about, absorbing moisture I think, or summat. The relief keeps changing. Anyway, parts in the for sale thread coming! I am after a bass that's reliable, probably a Sandberg PM or VM 4[/quote] Dude! Seriously? Awww man, I enjoyed reading this build thread and I can see the amount of work, love and attention to detail that went into this project. I can't believe you'd even think of parting it out.....crumbs. Well, you and basses how many have you been through in the last year or two? Hehehehehe I know you'll find that perfect bass for you, but for me it's the one I'm playing right now. HTH, and good luck fella Ian

[quote name='Ruiner' post='1366658' date='Sep 8 2011, 04:56 PM']So I've recently joined a new band, having happily played in standard tuning for the past 8 years. The trouble is, guitarist of said band, likes to write songs in 8000 different tunings and likes to carry 6 guitars to even the smallest gigs in order to facilitate this. Now, I think I can accommodate most if not all of the set with three basses. One tuned DADG another tuned completely down half a step (dropping the low string a further full step to c# for some songs) and a third tuned B F# C# F# The only trouble with this is I hate having strings that flap around all over the place. Is there some kind of technical way of working out what gauge strings I would need to use for each tuning in order to maintain the same string tension as I'm used to (I usually use EB hybrid slinkys - which i believe are 45, 65, 85, 105)? Also any general advice from seasoned downtuners warmly welcomed. Thanks in advance [/quote] Crikey :/ Well, could you just use a bass tuned BEAD? Would that be helpful to get all of the low notes (as it appears you don't need the open high G as much, and it's there at the 5th fret on the D string anyway)? I've tried a BEAD/ADGC tuning before and it has it's uses, especially with a keyboard player - helps keep a solid low-end going. Best way of getting that sort of tuning is to purchase a five-string set and ditch the high G. You will likely need to file out the nut slots and possibly slacken off/adjust the trussrod (less relief is needed because the overall string tension is lower). I used a set with a 0.135" B string which was fine for downtuning a whole step to A as well. HTH, Ian

Seymore Duncan do a hum-cancelling version or two of their Basslines Jazz pickup - [url="http://www.seymourduncan.com/products/bass/pickups-for-jaz/4string/stkj1_classic_f/"]Classic[/url] or [url="http://www.seymourduncan.com/products/bass/pickups-for-jaz/4string/stkj2_hot_for_j/"]Hot Stack[/url] versions depending on the type of output/style of playing you're looking for. They seem to be available for either Neck or Bridge-sized routs too. Wiring info [url="http://www.seymourduncan.com/images/products/basslines/501030-115.pdf"]here[/url]* HTH, Ian *Note that this is for a standard VVT Jazz-style control plate, so you would likely need to modify it for the J/MM arrangement you have - SD hum-cancelling coils come pre-wired in series, so ground one end (green wire) and take the other end (black wire) to the 'Hot' connection on the blend pot where the original jazz-pup was wired.

Played two services yesterday - morning and evening at the church in Cambridge. Bit poignant as I'm now leaving and spending more time with the missus at her church in Bury St. Edmunds Went well, decided against the big rig (it's a bit of a car-full) and instead took my 1x15 and GK head. Morning service I used my Ibanez down-tuned to DGCF with the DR Hibeams - worked extremely well, and the congregation were up for a bit of a dance. In the evening I used my Vintage 'Ray copy strung with LaBella flats in standard tuning, and my God, it was serious 'umph' and 'mwah' time (plus I'm a sucker for maple boards too - this one is a keeper!). Overall, I think that the evening went slightly better than the morning - didn't feel as rushed and felt more relaxed with my playing. Bit sad and emotional once we'd finished the set and I started packing the car have been there four years with three of them on the worship band. We'll see if I can start over with the church in Bury....... Still, has been a good three years, and I've learnt an awful lot. Have been blessed with working with an exceptional group of talented musicians, and will be sad to move on to pastures new. Looking forward to new challenges and working with some new people. Ian

OK, so how about a five string fretless with some alternative tunings? One idea might be a fiver strung D-G-C-F-Bb? Keeping it in fourths, but with the low range of the bottom D up to almost the highest C on a sixer. Alternatively, and this is a bit out of left-field, but how about tuning in fifths i.e. C-G-D-A-E? That way, you could have a more conventional five-string fretless (which may be considerably cheaper) but still have pretty much the same range a six-banger. HTH, Ian

[quote name='Randy_Marsh' post='1350943' date='Aug 25 2011, 01:57 AM']Cheers for all the help guys. I've not been to a music shop for aaages, but I might have to get myself down to one to try some stuff out. Looking at the MXR M80 and Sansamp BDDI primarily. I've always liked MXR products so I'm more drawn towards that at the minute. Is there anything I should look out for with this products? Other than how much the Sansamp colours your tone[/quote] If you're thinking of the Sansamp BDDI, may I point you towards the Para Driver version, with the swept mid control? I have one and it's the bomb for my passive Ibanez - gives it some really meaty welly when required or can also do subtle 'active'-ness when required. I have found that with the Sansamp 'less is more' i.e. I usually run with the blend on about 25% effected to 75% dry tone, and this seems to help with just 'beefing' up the passive sound somewhat. Obviously the 'drive' control has some influence, but I don't use excessive amounts of it; rather, I just use the level control to give me more into the head/PA desk. HTH, Ian