JTUK

DEAL [url="http://www.thebassgallery.com/product_details.cfm?ID=2932&type=Bass"]http://www.thebassgallery.com/product_details.cfm?ID=2932&type=Bass[/url] Guitar

Posted on the Fender trouble thread so sorry to repeat The American Deluxe is the only one I'd look at from Fender. I've played a couple and I think you can get them to where you want them set-up wise ( whihc you'd dame well expect ) and the finishing touches or block and bound on RW is the way to go. My next best will have this spec...and it may well be a J5 U.s Deluxe if I don't commsion a Sei.. I would put the finish up there with a quality MM S5. They may come across as a bit chunky, so check the weight, if that matters to you, but I think they are very solidly built and finished from what I've seen. I think just shy of £1500 new is just about right. Any higher and they'd lose out to others. If I saw the right spec for £1000 SH, I'd be very interested. The Jabba looks good... What about X-otic ..?? their spec is good. Or, hang out for a Sei, but oily white is going to be a problem.. Having said that...I've got one

[quote name='stingrayPete1977' timestamp='1413883691' post='2583013'] Thanks for the info the vm and deluxe keeps getting a good mention on here, bit more home work online then a shopping trip I think, white fender deluxe V blocks and bound rosewood finger board is top of my list right now, I've got gigs in the diary to pay for it too which is the main thing [/quote] The American Deluxe is the only one I'd look at. I've played a couple and I think you can get them to where you want them set-up wise ( whihc you'd dame well expect ) and the finishing touches or block and bound on RW is the way to go. My next best will have this spec...and it may well be a J5 U.s Deluxe if I don't commsion a Sei.. I would put the finish up there with a quality MM S5. They may come across as a bit chunky, so check the weight, if that matters to you, but I think they are very solidly built and finished from what I've seen. I think just shy of £1500 new is just about right. Any higher and they'd lose out to others. If I saw the right spec for £1000 SH, I'd be very interested.

[quote name='lowdown' timestamp='1413993944' post='2584576'] And a reliable Martin(i) Henry, breech-loading single (malt) shot, lever actuated Drummer.....Sir. [/quote] Quite right Bromhead...

Have to say the pics look great. Wouldn't have picked that colour scheme myself...and would have added tweeters but agree he seems to know how to produce a great looking cab.. It definitely works visually. Need to hear one now...

[quote name='lowdown' timestamp='1413990986' post='2584512'] Sure...it was me....and the toastmaster.... [/quote] Good save, job done, the bass player rescued it.

ha ha ...now, that is a tune that someone should at least be able to start...

Even the DSR 12 is a two man lift really but fits is a car back seat ok. I forget how heavy it is, and at a push you can carry it but you really shouldn't IMO. As long as you have 2 ppl always prepared to move them, then I think the 15 would be worth it.. We never really found out the DSR12 but we were reasonable with our expectations, I think. Outside, 200 ppl will need 2 subs and you can't be canning the P.A, hence why I carried a bigger bass rig but will 2 15's, you may be able to put bass and full kit there and no over run the tops as far as the vox are concerned. Having said that... we never had the master top gain on anything above 12 o clock and they were loud enough. I would say 200 ppl inside might be getting near its max if a full band mic up. But I do like the tops... good value for money and good sounding, IMO. Our vox liked them better than K12's and I didn't think they were outclassed.

[quote name='Dad3353' timestamp='1413986151' post='2584428'] Are you certain of that..? I have evidenced (too many times..!) folks singing along horribly, clapping off-time, mass slaughter of even such well-known ditties as the National Anthem (never heard football or rugby teams before an international match..?), and that's just vocal..! Our 2nd guitar only plays by ear, but boy, does he struggle to 'capture' the tonality of a piece..! It's not uncommon to be 1 fret away, for a whole solo, or to confuse a major with a minor. No, imo not everyone is gifted with an ear for music; in fact I'd say quite the opposite. Most folks will bugger it up. Sad..? Certainly. [/quote] Yep... some people just hear so much more and then some. It is a skill level just like anything else. But...if you don't recognise that, and people can't hear where they are wrong..and others with a better ear or musicality can and do.. well, that is something that seperates the levels that people can play at. It isn't the only factor, of course.

If you can carry them and weight isn't the issue then the 15 makes sense. We ran DXR12's and DXS12 sub and it handled it well. We would struggle outside with 1 sub and bass gtr generally wouldn't go through it. I think the DSR12 is capable and light... never looked into the DXS15 as weight was king. Our plan was to run 2xDXS12 subs and full band which I think that would do a small beer festival outside and 200-300 ppl inside..?? FWIW... we thought the tops compared very well against our QSC rig as the tops are pretty smooth and not peaky/harsh which we found other tops to be.

[quote name='stingrayPete1977' timestamp='1413971214' post='2584118'] Exactly, Guigsy was (is?) a professional bass player! [/quote] Who he..? .or is that a generic name ...??

[quote name='stingrayPete1977' timestamp='1413966368' post='2584033'] That's only ever going to work in a pre rehearsed situation though, it's still noodling he's just good at noodling that's all. Noodling won't get you a Broadway or west end show gig, your going to say he doesn't want that I know but the point is he WOULD be missing out on potential work. Of course this is tosh anyway because your girlfriends brother could be professional but is in fact not. [/quote] 'Professional' just means someone does it full time for a living in this context, it is not an indication in itself of how good someone is. That is plain to see every week, IMO. There are amazing perfect pitch type players but they are not the norm, IME.

[quote name='SteveK' timestamp='1413909188' post='2583490'] I think we're talking about 2 slightly different things here: 1. Sitting down at your old 33rpm turntable (I'm old) and trying to figure out a part by repeatedly playing that part of the record - effectively, trial & error! 2. The ability to hear a tune, bass part, or whatever, and play it straight off without having to figure it out first. The first, we all do, or have done. The second is an acquired skill that many musicians haven't acquired. Seems the OP is well on his way to achieving the second [/quote] Agree. 1 should lead to 2 pretty easily if your ear is good and relatively educated. How you get 'educated' is the part you need to search out and work on.. but you can't really busk unless you can hear changes and also have a decent idea of where the tune will go. The goal should be that you know a classic, and you can hear the changes/intervals you just need to know when. You don't have to have played the song before, but you have heard it enough... There are many obvious progressions and I was bemused recently when some 'experienced' local players tried to cope with a blues band sit-in and didn't do too well. This was mainly because they couldn't feel their way thru the changes on 'Rocky Mountain Way' ( for example ) and weren't really sure what a 12 bar could turn out to be. The starts and endings were a mess and you'd have to summise that they had NO experience in this area. As a dep bassist, this is pretty fundemental and you need to get past trip-ups like that if you want to dep ... and save yourself a few roastings, as this does not get you asked back.. Then, you'll see the need for chord charts/cheat sheets/dots from the band leader..which will be written out as a band Pad, and you need to be able to make sense of them. If you want/need those dates. The other way is to be so comfortable in your musical circle that you basically play the same sort of set with a different line up and your biggest problem is transposing keys and handling the odd variation of the song format...

Both basses are clean and lively which means the action is very low and I play light. If I am in a very comfortable position on the couch noodling, the strings will more likely choke. The pickup height and all EQ is set so the G string hi fills speak well over the band. The string are clean and clear as articulation is important to me... so no clunk or thunk. Strings are Newtone 42-118 custom tapered. This is the way I play and this will enable to put my style..for good or bad.. on any gig. I don't change anything for anything. The difference between both basses is the woods and sound they make...and that is my variation. The rest I tweak out of the basses.. but if it isn't there, that is because I don't want that sound. just my 2p..

Stop gap measure at very low volume as the combo is biased to gtr. Practice -at home- amp at best, but not with any sort of band context, IMO

Its my bass and it is what I play. I'll play the lines as I see fit so all these things add up to they either like what I do or they don't...

I think you need a combination of both. You really don't want to be a mechanical player where you don't have a clue without dots..and you also don't want to be clueless if you haven't learnt/heard the song before.

Good sound = plenty of comments, IME and then the looks thing will crop up as well, so I found that it does tend to matter to gear geeks...

You can't not have it and be a reasonable player

I only want to know what the dress code is..and then I dress accordingly.

It is were me, I'd pair a TH500 with the Berg NEO's. That would be a lightweight set-up with a weighty enough sound. The TH500 is pretty subtle and you tend to think it isn't toppy enough but paired with AE112's, this works very well. For sure, it hasn't got the weight and authority in the sound that the DB212 has...but then I run that with a DB750. The use of the TH500 has breathed new life in my Bergs which I was on the point of selling and I liked the demo of CN cabs better, IIRC. I think the neutral-ish sound of the TH compliments NEO ( possibly by design ) and many say the TH and SL cabs is a quality sound as well. For me, my Class D/NEO match up really works. I still prefer the DB rig but I now have no worries about choosing the lighter rig when required at no massive drop-off in sound..far from it. For a quick reference of the sounds, the light rig does gobby fingerstyle easily and the BD does beans and balls. Hope that is scientific enough... I likey, anyway.

[quote name='wateroftyne' timestamp='1413814595' post='2582211'] Yip - I don't make stuff up for the fun of it, believe me. I've done deps with three or four different bands recently, and at every one, at least one member of the band has said something along the lines of 'whoah, that's nice' etc., etc. And a bloke came up to me after one gig and said how nice he thought it looked. He may have been a muso, I dunno. And do you know why I think this has happened? Black box syndrome. It's been a scourge in bass-land for years now. Guitarists get lovely boutique amps, drummers get cool-looking kits... bass players get black boxes. Well, sod that. [/quote] I've seen plenty of gtrs play thru old boxes because it sounds good to them... but then they rescued it from a tip or something... Seriously, they use it because it was cheap/knocked up or thrown together and they like the sound... and their gtr playing tends to negate everything else. The cabs in question aren't cheap tho, but IME, they don't sound the part either..as subjective as that can be. So, people here are going to buy on what they feel is value for their set of criteria..and they generally do. If people are going to compliment me on the sound, it is THE sound, first and foremost. The fact that they like the look of the cab is ok as well. I doubt anyone is going to bother on looks alone, if the rest of it doesn't work, but they will tend to like the whole package. And then... we get to talk about really important stuff,... like the bass and ME

[quote name='stingrayPete1977' timestamp='1413796333' post='2581857'] Even though I'm fairly sure the fender B string isn't going to do it for me something still makes me want to go and (triple by now) check, so even as a taker or leaver of fender something still makes me want that badge? I'd only want either another squier as a project or a full on USA, stuff in the middle doesn't appeal to my snob side [/quote] Not sure the B string is a Fender problem altho the older 5's weren't good, IMO. I've recently tried an American US Deluxe 5 and that was good, but then they are also getting into VERY competitive territory and I'd think £1000-1200 SH brings better basses into the equation.... Overwater, Sei and Sadowsky, for example. I'd price a SH U.S J5 Deluxe at around £1000 ... Whichever 5er you pick up the B is going to have to be very good... and altho the general standard is better, it isn't a given, IMO. I wouldn't buy blind... altho, as it happens, I did with a Sei, but I knew I'd be on pretty safe ground there, tbh.

I quite like that latest soundclip but I'd try and thin out the HB's to get more of the character of the sound to come thru. This is the problem with powerful HB type pickups, IMO for a short term gain in volume..( which is what the amp does anyway )

This is what the OP said... "[color=#141414][font=verdana, geneva, lucida,]I am considering re- positioning my cab right behind me, but this will mean positioning it next to the bass drum on my side, but it will be stuck right beside the side wall of the stage. Previous experience of doing this with a rear ported cab, resulted is excessive boom that could not be controlled with EQ"[/font][/color] difficult to get a real perspective of the layout and there may be a bass trap but it is something to try ...