JTUK

I REALLY like both my basses but if I was going to sell either, then the next bass would be better... so I would be ok selling. It may well be that I'd add a third... but that isn't because I couldn't bare to sell one..just that I don't need to...

I have to say that I could recall penty of basses and their sound that would die a thousand deaths and then some if you played them through a very clean rig... Playing them through an EQ stage does for them way before that though. I can imagine an engr would have to spend AGES trying to make them sound useable... I don't worry about them anymore... that is their problem. You know when you onto a hiding when you are thinking f****** atrocious sound and you find the guy just loves it... Now, subjectivty can go quite a way and we like different things but it is like calling a Citroen a Ferrari.. That is the way it can be, oh well.

I do it so I'm happy. If I was taking the basses to the Gallery, then MP can look them over but no need at the mo'. At some point I need a neck laquer and logo sorted and maybe.... a neck shim but there is no rush.

I've skimmed this but it comes down to this...you either have it or you don't. You can have varying degrees of this, but a guy with 'IT' can get a really long way in 5 years that someone with 30 years plus can get no where near. Sad fact that most of us have to reconcile at some point ( IMO ) when we have exhausted what we have. We can put loads of time in but all that will do is maximise what YOU have ..and you should do this but some people just have innate talent which takes them to places others can't get. If they have also put the time in, that is where you get monster players from. There is only so much you can kid the groove... I don't know how you play so this is a general answer from my POV, as opposed to being directed at the OP...but I suspect the mere fact we are talking about this is that the OP..to some degree..knows this as well. Welcome to the normal world.

Don't know the CN212 but I have tried the CN112 x2 and I LIKED them in every regard ............and I am not utterly convinced about NEO cabs. I think they are a good step on from the AE cabs.. but more time needed on them, I think. They look very very smart as well. Probably another classic line in the making from Berg. oh... just remembered, they are too small Markbass and Berg usually pair well...........

Hmmm not helping. I like the D126 but think I want 2... and can't quite get my head around which colour...sometimes there can be too much choice. Favour the white but can't pull the plug atm..as it is an expensive month, I have way too many cabs as it is...so need to thin them out.

But if a gtr band plays a track with a trademark piano part on it...??? then that doesn't look good. My point was that a band would fly in parts that were fundemental to the making of the track... and then that song became one of their best numbers, along with other songs that had parts flown in... and I thought that was a bit cheeky. A string is an embelishment not a crucial part... BV's should always be done live, IMO. I don't consider solo's and duo's in this as they aren't going to affect anyone and nobody takes too much notice anyway The point about having to declare none live parts is funny... just think who would fall foul of that. Not my fav band, but Muse use an other player for parts...but am still not sure how much else comes in.. Most big acts can afford to augment... but oddly Toto use to hide a couple of theirs..??? but at least we assume they were still live.

Most luthiers will have their chosen combinations and when I asked for a different one, based on aesthetics, he said that we wouldn't know how that would work until it was built... The goal of the luthier was to buld me what I wanted within what he would do... and then consider the variables. But it is pointless going down blind alleys too much as the result would be more of a lottery..this is why you need to talk to, buy into and trust the guy who is building the instrument. I watered down my 'vision' to a more known entity with the woods involved..ie, maple ( flame/birdseye) bubinga stringers and bubinga facings. If you get too exotic, it is hard to even determine what the wood might be anyway.... You have to believe the guy building the bass knows about wood combos otherwise why are asking him to build one anyway. I would expect Name builders who have been around a bit have long since done all their research and have a wealth of experience in this regard. Sadowsky, Smith, Warwick etc etc ...have all determined their staple combinations and probably wouldn't be interested if you wanted then to indulge you... and largely that is a good thing. I would like little things like a block and bound neck... which isn't that big a deal, but would expect them to say that they use these wood combinations and these only as they know they work and have built their repuations on it...

[quote name='molan' timestamp='1381087019' post='2234261'] I hear that a rather fine bassist with a history of playing with Whitesnake, Sabbath, Brian May, Peter Green etc. etc is now using an ATS cab [/quote] Glad he binned the PV rig...

You ar going to have to move the right plucking hand and depending how hight you have the bass, the movement can come from the elbow. You can stay more accurate that way. LH is 1st finger and little finger for the octave

I'd say, typically, that maple is snappier and RW is smoother and woodier and therefore have more chance of having character in the sound. Didn't do MM any harm though. I used to be a confirmed maple user... but not now and would always look for RW first.

I can... but they aren't alone. Unfortunately, the name of the headstock is a garauntee of nothing, too often Glad you got it sorted ..and you were even able to. Some basses on the wall in shops are a complete non starter for me..and that may be my problem rather than the norm, but at a big chain store, that may have had 50 basses in stock... I couldn't find one that I fancied or wanted to play. So I settled for a Sadowsky metro 5 and even that wasn't that well set up. At least with that one, I would hope that 10 mins with an allen key for the saddles would get quite a long way, but that isn't something you can really do in a shop unless you are really interested. Saying that, GAK were completely happy for me to do that to make the sale...

[quote name='bertbass' timestamp='1380975771' post='2233008'] Sorry, but I think that anyone using backing tracks is taking the piss, cheating and ripping off the audience, if you're not good enough to play it live then don't play it. Supported [font=Arial, sans-serif]The Rockin' Berries not so long ago, not only did they turn up late, but insisted on using their own P.A. just so the could use backing tracks. they ended up playing only a 30 minute set of 60s covers, not even their own hits, all with backing tracks and still walking away getting their full pay. [/font] [font=Arial, sans-serif]At the same venue the following year, we supported the [/font][font=Arial, sans-serif]Abba tribute band Abba Arrival. Totally mimed the whole way through, full band as well. Pointless, unless they were incapable of actually playing it live. [/font][font=Arial, sans-serif]Both bands won't be playing at that venue again[/font] [font=Arial, sans-serif]If you have to use backing tracks to make yourselves sound good, then give up and let those who can play live do the gigs.[/font] [/quote] I wouldn't go this far... but the examples you saw and gave, doesn't do anyone any credit. The fact that they wont..??? be playing there again rather defeats all objects really. You really need to be asked back, even if the venue is one you wouldn't want to do again..you'd want it to be your decision rather than theirs. On the whole, I feel a small embellishment isn't the worst sin in the world, but if it is pretty much the maker of the track, I am less keen. Then again... if it was something you knocked up or had knocked up..and paid for, then ok.. but if you have just nicked it off the internet..??? hmmm very cloudy area, for me. For local little gigs, then I don't fancy it... and if you went to a TOP gig, like Moodonna, then more fool you to pay that money. As an aside...and I don't think I'll get many thanks for this... I have long suspected that Verdine Whites lines are flown in... and I think that has been the case for ages....

[quote name='Roland Rock' timestamp='1380902239' post='2232239'] Got my strings today! My preferred gauge and everything. Thanks Tac, and thanks Rocco! [/quote] Fair enough.. [quote name='molan' timestamp='1380924781' post='2232613'] I'd ask what he feels about US healthcare - you'd have to assume he was a pretty successful musician but the system is so poor that he can't get/afford decent healthcare and is really not at all well [/quote] Don't know about the successful part in terms of money earned. TOP were pretty niche so not sure what they may have grossed in their time..?? and then the equation is how much per year for how long to really be able to sustain a good standard of living. Not a bitch as such, just a thought about how well a jobber has to do throughout their career. His reputation is higher than that of course, but iirc, TOP is all he did... so that was his soul musical outlet ..???

I think the guy sounds like a dreamer.. How many in the band....? Does he know how hard it is to get a solid good paying set of wedding gigs.. ( how many does he think he will need...and he must have thought about that to consider it full time ) and it doesn't happen over night? It doesn't sound like the OP buys into it all....but I think the first opportunity to jump will not be too far away. TBH..!!

[quote name='neepheid' timestamp='1380897425' post='2232126'] If everyone could stop telling me that my personal preferences are wrong, I'd be most grateful. [/quote] I'm with you on this.... you ( bands/performers ) can either play the piece and make it work or you can't. Being able to stretch out a song... take the feel elsewhere...ad lib a bit are also musical skills.... ramp it up... back it off, treat it differently on the spur of the moment..??? I even hate those vocalisers... I wouldn't be that offended if at an event where the 'band' used tracks, but then I wouldn't be taking any notice of them either. It is the same as a disco... doesn't stop me going and enjoying myself, I just don't give it any credence.

This might suit him if he treats it as his day job but if this is him on day one of the decision to push this band, what happens when things don't work out as planned... and he decrees something else.. and you other guys have day jobs..?? He will be taking any gig he can lay his hands on as he needs to crunch the money in as much as poss and you have agreed all this..? As long as you are all aboard, but you'll need about 40 weddings a year at £300 per person per week..plus teaching and other gigs to make a regular living..?? So...40 weddings is some going, as is getting £1500 for them.. Tough work... best of luck.

Don't look at them these days as I think they have had their place in the sun. I think they are like MM basses in that they were great at one point... the company got sold and they needed to produce more cheaper basses ... but the biggest thing is that they sound out of date. I am sure their top end basses are pretty good.. still.

Great sound for a pick...the slap sound not so much....IMV That sound has a pretty big hole in it.... and I think a Jazz and pretty serious EQ stage could make a good fist..

As soon as they go off... so that can be 3 weeks onwards. I'll clean them up and put them back a few more times but I'll know when they have nothing left to give and bin them. Strings can fatigue but breakages should be rare. If it happened more than once..or at all... I'd be looking at the way there were wound on..and how the string passes through the peg, nut and bridge as these are the stress points. You should take note of where the string breaks...

ha ha ....don't you know that no other cabs count. You'll have the mafia tut tutting and pm'ing about your audacity. I hope you enjoy your new cab.

Once I got into serious territory... and past the baby stuff. worst was a 70's Fender Jazz as I didn't really know any different, but I thougt it was what I wanted. Followed by an Ibanez MC940 'Sting' bass or whatever if was called.. It was made pretty well, I guess,..but totally bland, bland, BLAND.

£1000 on a new bass is no garauntee of anything... so I'd be thinking that amount to a SH bass would be better spent. It is all about finding what works for you and how much money you can or will commit to it.

[quote name='neepheid' timestamp='1380807363' post='2230854'] As a punter (and clearly I'm not supposed to notice these things) I prefer people not to use backing tracks. This informs my opinion as a player too. If you want strings, get some strings players in. If you want a horn section, go get one. Want keys? You know what to do. Much better sounding and visually engaging than a backing track. ............. [/quote] Yep, live is live... and you know when it gets silly when a band says the numbers that go down the best have parts flown in to make it what it is... So.. I am not a fan but when the embellishment makes ALL the difference that is when it feels like a cheat. Not talking about duos, .. but bands deffo.

Played a few ...wont do it now. We tell the venue how much space we need and if they need to build a stage, how big it must be.