Cat Burrito

Thankfully most sales go without a hitch but I guess in any walk of life there are people who seriously chance it. I was selling a bass amp on EBay last year for £120 which was [u]considerably[/u] below the going rate and someone messaged me to say "Give you £50 for it". Anyone who's ever posted an amp before, nevermind paid paypal AND EBay fees knows that that's a crazy offer. Of course I had to waste time sending a really detailed message back explaining my rational - otherwise had they bought it I'd have been marked down for poor comms! I guess you know that as a seller you have to endure a bit of tyre kicking from time to time. I always sell stuff lower than the going rate just so as it shifts quickly so it does grate a little when I get the lowball offers - especially as I always state that I don't want lowball offers. Still the opportunity to free up space and get a couple of quid always outweighs the hassle of fending off the occasionally silly message Sounds like (@ OP) you've just had a run of bad luck which far and away doesn't reflect most transactions here. Hope it turns around for you

[quote name='ThomBassmonkey' timestamp='1337770924' post='1665102']I'm not talking about whether or not the band wants you, I'm talking about you getting a tone that you think is perfect and what contributes to your idel sound being different when it's just you and when you're in the mix. [/quote] I got that, but my point was more that you buy the right gear to suit what you do & go from there. I can always get the right tone I want because my gear suits what I do. I agree tone in isolation and within the mix are two very different things but generally if you are in the right area in the first place it shouldn't cause too many problems

I use the gear I use, if a band doesn't want me to use it I suggest they get a different player. I thought this thread was going to be more about using a 10w practice amp which is what I do. Mainly because I don't want to upset the neighbours and I can't be bothered to take my rig out of the flight case though. A lot of amps just don't sound so good at low volumes.

[quote name='yorick' timestamp='1330960607' post='1565371']Clarky, just buy the head and SP210 seperately!! [/quote] Go on, all the cool kids do!

I wrote to Carol Kaye a while back and she sent me some which was kind of cool so those ones

You lost me at changed strings... why would people do that? Great cables, yes

[quote name='EssentialTension' timestamp='1337624531' post='1663040'] First in the diary gets the booking. [/quote] x1000 I juggled 3 at one point and it's simply not an issue if you are up front with your other bandmates. I also tried not to harp on about the other bands when I was with one band. I play in just one band now as it's easier with my current circumstances but I'm certainly not anti the idea of multiple bands.

TV Themes of the 1970s probably planted the seed, repeats of Randall & Hopkirk (deceased) and The Pink Panther stick out in my mind. It was more little flourishes that jumped out the speakers rather than actual whole songs. "I like that bit".

[quote name='BigRedX' timestamp='1337252893' post='1657799']I think it's very much down to the mentality of the bands you are playing with. [/quote] Amen to that one. I think I've just had a run of bad luck recently but with £1100 worth of kit at stake I wonder if it's a game I want to play

My ex-wife had a VW Fox which is the smallest of the VW range and I regularly put a double bass in it AND took myself and a band member with his kit to gigs. My bass is 4/4 too. It was a squeeze but we did it a few times To the best of my knowledge this wasn't the reason why she is now an ex-wife!

I've always been happy to have the offer of my bass amp / cab out there for supporting or headlining bands but recently it's really starting to bother me. My rig would cost over £1100 to replace according to a quick online search. Often (& I'm thinking London gigs here) we travel the furthest only to lend out all my kit to bands who barely acknowledge the loan and on occasions have rested pints on my cab whilst playing. I can't help but feel they wouldn't be so quick to pay repair bills if the worst was to happen. I don't want to be seen as someone who isn't a team player but it's getting to a stage where I'm feeling my kit being lent out is happening far more than I appear to be borrowing other people's kit. I've also sat through a fair few bands just waiting to get gear back which means 2am bedtimes and feeling knackered at work the following morning. I wouldn't mind so much but when the bands barely acknowledge it I do start to wonder why I bother. I'm not asking them to be down the front throwing all the shapes during our set but a smile and a thank you goes a long way. Hell, I'm not even asking for a pint! What are your views?

Old thread resurrection! For the record I've been gigging the SP210 as my sole rig for about 18 months now. i sold off my old vintage Ampeg and Bassman head so I just use Orange now. I'd advise people to go for the SP212 if money is no issue but the 210 gets a lot of favourable comments from other bands and really punches it out. It's a perfectly serviceable rig and combines portability with performance. In it's Orange flightcase (bought separately) it also works surprisingly well as an occasional table!

£200 is an excellent deal, these can go for £600. And yes, it is a 54 reissue. I had the blue flower bass which was amazing. It is the closest I've come to regretting selling one.

That is excellent

Look at the flame on that one

I heard via a mate's Facebook at 1pm this afternoon. My first thought was "must post this on Basschat" closely followed by "I bet they've all beaten me to it. A great player and sorely missed by many, I'm sure

Most models don't come with them these days BUT it is actually a very simple thing to do. I've had them on mine for 15yrs (a fair few basses too) and first time around I was nervous about drilling into my pride and joy. So I got a musician mate who was a carpenter to do it. Most music shops will do it for a small fee - it's literally 4 tiny holes so isn't going to cost mega bucks. If you are half way handy with a drill, just go for it. I do my own these days

Looks great with the amp too

Having always played P's and gone for vintage tones I'd recommend 3 pickups. The Wizard Trad in third place & probably the cheapest. It's a nice pickup that delivers a really good woody thump. Second place is Seymour Duncan's SPB-1, vastly superior to any Fender stock pup I've heard (ducks for cover!) First place though is the pricey Seymour Duncan Antiquity. It really is stunningly good & not just good looking

I saw this on Rick's page too. I wish them the Tom Petty-est of luck for a speedy return

I used 6 basses on our last recording sessions, 4 were different P-basses though (black nylon strings, flats etc). I used a Rickenbacker on one track & upright on the more rootsy stuff (that actually wound up being held back for the next record). I believe too that you should listen to the engineer as (s)he does know the studio best BUT also agree, yes, you are the paying customer. I'm afraid I'd only follow Lozz196's advice if you had no worry about the budget. Bass tends to have the least input on recordings (sadly with vocals ironically so often being overlooked too - on demos at least) so it's best to just know your chops and get the part down as quickly and as best you can. Quite often tones can be fixed in the mix more too

When these came out pretty much *everyone* on Basschat was raving about them. I tried one in the shop and I'm pleased I did - it was rubbish! I'm sure the Vox Amplug fans will be along to redress the balance shortly but the thing just couldn't take bass frequencies. It made me wonder from the old threads if they had good ones & bad ones with me just being unlucky. I just had a regular P-bass though the one I tried