JTUK

I don't, but recently swapped out the CS bridge..which seems like the AM Deluxe bridge for a Hipshot. Straight swap if you get the retro fit specifically for the Fender market and 3 times the bridge. Heavier, milled, more accurate, string thru and top loading. It pretty much sums up how lazy or worse, Fender can be...when they persist in using their own design. IMO

If any piece of kit 'failed' me on more than a few occasions, I'd be thinking that kit doesn't work well enough for me and what I'm asking it to do. I'm not than keen to adjust the amp as I know it sounds good so I'm really looking for the volume to be set and find the sweet spot on the Active Pre. This is the true value of active, IMO... in that you have adjustment to hand on the bass, but again, you can't be constantly messing around with that.. The biggest BIGGEST effect on the sound from my POV, is the strings, and once they are off, then you are much more at the mercy of other varibles. All the components have a sweet spot and that might be quite a wide sweep, but once the initial tone goes, that is when the problems begin to mount up. For this reason, I rarely get bad rooms being a big factor and I don't get boom. The only times these would be a factor for me..and I know this ... is when the strings aren't very responsive and more fool me if I haven't recitified this.. I've sold cabs and swapped out various other components for their lack of tolerance, or rather, their very very narrow sweet spot to make them work. A classic case in point was the Fender Pre amp... I could get it sounding great BUT outside of that sweet spot, it wouldn't work for me, for love nor money. It HAD to go..

.[quote name='wateroftyne' timestamp='1473677386' post='3132116'] This is interesting. Until fairly recently, posts suggesting that micro heads lack 'something' have usually treated with hoots of derision. Over the last year or so though, I've noticed that the responses are just as likely to come from players who feel the same. So.. either there's something in it, or the 'imagining it' thing is contagious... [/quote] happens quite a bit here. U-turns..who'd have 'em?

Only did them with certain band leaders, so I agree that they work with their chosen partners a lot. In that sense these aren't 'open' gigs. They certainly have good budgets as even the Sargent's mess events are pretty spectacular food-wise.

I'd very very likely not go with any class D I've used. I currently use a Demeter (with class D back-end/power stage, and what makes or rather rescues that is the valve pre amp stage) For a discerning gig I'd use Aguilar's big block DB amps. If you have to have class D for convenience...and that is a valid reason, I'd go for something a bit more substantial sounding. A decent compromise would be Thunderfunk (not Class D) and not heavy at 18lb. IMO. I think there might be a few other suggestions coming, but I've not used the newest amps apart from the Demeter. That amp puts out the volume well enough, but there is volume and volume. Lightweight amps, I have used include LMll/lll, Ampegs, Line, GK's.. and they are all varying degrees of 'ok'... but you have to decide where your bottom line is.

Move on IMO. Nice little amps for the practice room.

[quote name='rogerstodge' timestamp='1473613624' post='3131673'] Nope. That's Geddy, I think we'd all sound "all over the shop" isolated. [/quote] I'd say we really really shouldn't and anyone recording onto tape with punch-ins would have had this point demonstrated to them on more than a few occsasions. Nowadays, with digital, it is far easier to clean up a track.... whether you want to waste time doing that is another thing.

Depends how confident you are but you also pull them up on a track if you think it doesn't work. It is no good you perfecting a part note for note if the drummer, for example, does only his intepretation of it. You have to make it work together otherwise you aren't playing it.. you are just concentrating on your bit. (This is often why bands don't sound together... they aren't listening to each other and working the track.)

hmm.. yes, I think they are testing you...which tbf, is also the point of an audition. I'd ask them about the song and say you'll put the work in IF there is a useable end reason, otherwise, give me a more relevant song. Minus point for this band already, IMO... if they are into silly games like that...

I use a zoom but only for audio.... tbh, unless you move the cam around a bit, 3minutes from a static position is a bit useless..AND boring, especially if the audio isn't up to much either.

I know if I'll like a drummer with just one fill during set-up...

I'd say here is the money, cash, take it or leave it by a certain period. I'd also leave the window open so the guy could come back later... but then he also runs the risk that I might not offer that money forever and I too, might readjust the price. I would prefer him to have said, no thanks, not enough money, rather jerk you around like that.

I don't define the music in that way so my style and sound fits the gig I want to do. I wouldn't go for ska, reggae or punk bands tho or classic 80's

All the sounds I like, I use.... Having said that, I can appreciate a a few more, but wouldn't use altho I might emulate their sound for a track or two... but I'd do this with the hands, not amp settings.

[quote name='Sibob' timestamp='1473423284' post='3130091'] I was taking a look on the Sims site, but couldn't find my way to any kind of accessories listings for sale?! Si [/quote] He gave me mine the other day...and we went through the order box.. Give him a ring and if Martin answrers, say JT told you he had some in stock. I'm pretty sure he had 4 stringers in the order... This was on Sunday. These bridges are milled and not cast... which is another plus, and the grub screws sit low so they don't tear your hands apart from muting. It seems rock solid as well..the adjustment is the same...and I believe the saddles sit a tad lower which is all good. A HUGE improvement on the stock Fender, IMO...

https://store.hipshotproducts.com/cart.php?m=product_detail&p=347 Sims has this in stock as he ordered spares when I ordered mine.

[quote name='Sibob' timestamp='1473285425' post='3128798'] I'm looking to replace the bridge on my JV Jazz, has anyone had experience of all three of the above? Thoughts when comparing them all? Pros/cons etc? I'm primarily a fingerstyle player who often plays Palm-muted. I have a B-style on my Xotic and its fine, should I go for that, or is something like the Kickass a genuine step up? Cheers Si [/quote] I bought a Hipshot direct Fender fit for J5 in brass/chrome finish. So so pleased with it over the standard Fender plate..which I've always disliked. It top loads or string thru the body and it is a very nice piece of kit. Fitted it in minutes and most of that was carefully unwinding the strings from the original. It has a larger plate surface area ( slightly) on the bass but lines up at the front of the old bridge perfectly. I will keep the old bridge and sell the bass with it as completely original with no holes drilled. Fender stock parts are pretty rubbish IMO.. but I MAY keep the tuners, and the pickups. The tuners need 2 friction screws (on order) and the CS pickups sound good thru a Glockekland Pre. The old stock Pre was pretty ropey.

The above pic is interesting... I was going to say 10k plus... but how do you really know? I do recall the gig was in a stadium and the football pitch was full...how many people can you get on a football pitch, ..?? I also recall the P.A was supposed to be 20kw and was a huge row of JBL 4550 cabs. and PiL had caused a riot there a few days previously over security, iirc..

If a drummer is travelling an hour to get to why the main band is located, then you aren't going to take bookings further away from that. Two factors in this tho...is the guy good enough to 'accommodate'...and is the band worth it from their POV. If the answer is no to either, I give the arrangement 3 months MAX

30-40 mins for £60.. If someone travels an hour, we have to pay them £80 which obviously means this is THE factor in the gig

I was thinking about this recently. I had a gig with a guy who is known nationally so I'm always keen to get perspective on how good is 'good'.. Well, I can say we had a good time but I've also had the opportunity to play with someone who was top drawer in his day.. All I can say is that the difference was huge... I'd say the standard of the 1st guy was good but that would be achievable by a Good semi pro... but the guy who was top drawer had something else entirely. He definitely had that X factor and you could see why he got those top gigs.

[quote name='cytania' timestamp='1473110109' post='3127083'] I seem to get 3 and a half years out of the driver before it goes harsh, raspy and lacking in volume. [/quote] This driver or drivers in general...

Man up, say it isn't working and it is a collective decision. If you think you owe him something, then you could tell why.... but only if this is solicited and constructive, IMO. Failing that, say it isn't him, it's you

It depends how you wish to position yourself over this. Are they tunes you'll use again, if so then this is the start of being a dep. You'll have to fathom a way to get them confortable. The band also have to reasonable... trhey give you THE set list for THE gig and you choose which ones you can NOT do justice to.. Learning 22 songs for a one-off gig for £60 is not a good way to do business... if these are standards and you don't know them, then that is yoyr fault, as such... If they aren't standards and you'll not need them again, then they need to supply a chart or pad. Mosr bands who do this regularly, will have a pad that you borrow and you'll be reading the gig, by and large. No one I know will do rehearsals, and home study...which might add up to 5-6 hrs prep work for a one-off £60... and neither will the bands expect them to...

[quote name='MoonBassAlpha' timestamp='1473167970' post='3127585'] I was looking on the Bartolini website, and they have 3 distinct ranges, Classic, Original and Singularity, all having different tone profiles: powerful lows and low-mids – bright treble [Classic Bass] :deep tone [Original Bass] :Singularity The asymmetric blade design yields powerful lows and low-mids along with bright treble due to its precise sensing aperture. This may give rise to why people have such differing experiences with Barts. You'd need to know the model numbers they are talking about! HTH MBA [/quote] Yes..and be honest, those overviews mean not a lot until you hear them in context. IMO. I personally don't want a great deal of influence or bias from the pickup and pre amp stage so want something quite neutral and natural...