JTUK

[quote name='chris_b' timestamp='1370166944' post='2097076'] When anyone decides they can afford £3000 plus for a P bass they're entering a world of choice which extends way beyond Fender CS. A world which Includes the likes of Nordstrand, Mike Lull, US Lakland, Celinder, Sadowsky etc, and of course vintage basses. [/quote] I would agree that that budget puts a lot more other basses in scope. I don't know how 'good' the CS basses are...but they wouldhave to be blindingly good ...and for a P..??? at that price level.

[quote name='stingrayPete1977' timestamp='1370102463' post='2096488'] This brings up the thin versus narrow thread again, thin for me relates to front to back thickness rather than narrow nut. [/quote] agree.... The width of the board shouldn't really matter (IMO) and the 'thin' element is more about comfort. I don't like base ball bat type necks but going too thin on a custom neck can cause satbility issues. This is why I favour graphite stringers/bar in thin 5 st necks or above

No one mentioned a kebab...??

Where is that 'like' button.

[quote name='EssentialTension' timestamp='1370124174' post='2096819'] Stop worrying about some imaginary elusive tone. Set the EQ flat. Get on with it. Worrying about tone is a distraction from playing music. [/quote] Kind of.... IMO. As long as the sound is good... you should be able to handle a few nuances. The problems tends to get on top when you are continually searching and not quite sure...or satisfied...or not quite sure, or.. Start with a good core sound and build on it...fixing a fix is never a good position, I think..

[quote name='Prime_BASS' timestamp='1370085708' post='2096304'] Use the line out on the peavey(if it has one) Into the power amp in on you h and k? [/quote] You have got to be kidding....

Quit.... but since your posting this I assume you want to stay. Write out a list of all the monies owed and present it to the band at a special meeting that you have requested. Tell them what you are not happy with and how it is going to change... and make up your mind that you'll walk if they don't shape up. I think they may well call your bluff... as they think you are weak. If you don't or can't do this, then dig deep again and again....

Mine comes in the Aguilar rack... which is a substantial unit. I might see if a 4 u case is lighter..but it would need to be beefy...so not a cheapy. Min standard would be a Gator, I'd suggest. I knew mine was heavy as my 210 cab is around 62lbs ..and it sems the same sort of weight, all-in. But having said all that... it isn't an amp I would use for small gigs anyway, so I am prepared to lug it around for the right gig as is.

I think Markbass cabs are an aquired taste. They always sound too loose to me when I hear people use them... I've not really liked the 210 Combo when used loud..( far better at low volumes ) or the 112 or the 115. but if you are going for that 'soft' sound... might as well go the whole hog and look at Epifani, IMO. Fortunately, the amps seem to go well with a variety of other makers.

It is about control. You'll find an engr will want you to monitor your space..and he can 'control' the stage mix with a monitor mix from wedges and side fills. If the bass is getting everywhere, and the source is the volume from the bass player's rig..then neither he ( FOH ) nor the mon mix guy can control that easily. This is why you might see a whole array of stacks on the stage..to look VERY impressive, but only one is fired up.. and being used. The side fills will do the work of the stage...and you are using your rig as YOUR bass monitor. On smaller stages..with less onstage monitor control... your bass monitor might have to fill the stage more... depending on the mixes you have ... and the capability of the monitors to take bass. For 3-400 hundred seaters, it is quite possible that the stage sound will leek out front...and agains, it is a wrestle for control of the signals....so bleeds are used to help the sound..as, again, it is hard to get rid of these signals using 3-4k P.A's It is not as easy as turning down an amp so there is no overlap as the band needs to have a decent amount of ooomph to perfom with .. Of course, it depends on the band and music, as well.. but you try and capture a high powered metal act with lower power on stage ... I doubt it will happen This is all before you get to the stage of having production meetings about it all .....etc etc

Why can't you get a decent sound at rehearsal..?? What sort of room..? How many in the band ?

[quote name='Dingus' timestamp='1369403745' post='2088848'] EBMM specify using Duracells because , apparently , different makes of batteries are slightly different sizes and the very tight flip -top batterry compartment could get jammed if you used a slightly larger example . I cannot understand why an identical battery wouldn't make proper contact . Have you tried another new Duracell battery to see whether the one you have already tried might be a one - off defective ? [/quote] They are indeed..... sizes are different and it is very annoying.. Thankfully, you don't need to change them very often... unless you leave them plugged in...

[quote name='Chris Horton' timestamp='1369744772' post='2092189'] The sims pickups look very interesting ! [url="http://www.simscustom.com/pickups/index.html"]http://www.simscusto...kups/index.html[/url] [/quote] I've played the Enfield type basses and they do indeed produce a whole multitude of sounds and it's all to do with the placements and magnets and switching/tap options, IIRC. It is fair to say that they do do great P-Bass, J and MM sounds easily and for starters..and that is what I believe Martin had in mind when he designed the whole thing. The range of options was quite staggering when he dialed them all in.. but I found it all a bit bewildering to know what switch/config does what with my little demo....but they are certainly all in there..

[quote name='Chris Horton' timestamp='1369662869' post='2091310'] Good thought , What about a soap bar config ? It could give lots of versatile usable tones [/quote] My thinking would be a P-bass and J sound....which means you can put the pickups in the 'correct' places. A MM is another beast so it would be another bass... Looking at the Sandberg pic...that MM HB seems quite a way back..?? Sims have a multi pickup config which does it all... but it is a big block- which it has to be- so the sound produced is very correct as the magnets are in the exact places for the sounds the pickup is trying to emulate.

SG Bass.... ?? now go amd check out Andy Fraser on Free Live... it is compulsory listening ...IMO..

If you want visual and credibility, you have to go Ampeg. The reason those fridges are good in that envirnoment is that they do the job as a bass monitor and it is quite easy to contriol the sound on a decent sized stage. This may be the inherrent clumsy design or whatever but it works. The last thing you need is the bass getting everywhere ..it will likely try and do that anyway...but there are little cabs and big cabs and they find their uses. Adding bass is easy, getting rid of it is not..!!

[quote name='icastle' timestamp='1369678675' post='2091573'] I don't do many of these 'multiband' things outside of the festival season, but I always make it perfectly clear that I'm either using my rig or I'm just not going to be playing - I've never had a problem with that in the 30+ years I've been doing them. [/quote] Festivals are the only time we really get involved in multi bills... altho we might have a couiple of 'support' gigs where it makes sense to talk about gear if you need to be there early for soundcheck. I tend to ask what is available if they seem to be pushing me towards using someones backline.. but tbh... my gear will trump it anyway almost all of the tine, IMO. I do take the point that you may feel good 'providing' a nice rig to someone ...

[quote name='cameltoe' timestamp='1369656891' post='2091245'] Eh? I don't know how you came to that conclusion. I love my current set up and it does exactly what I want it to do- sure the Compact has taken a bit of getting used to with the OTB, (If you think the EQ on an OTB doesn't do anything, try it with a Barefaced!), but it has opened up a definition I never had before. This is more about Ampeg GAS after hearing the Ampeg tone again, so am (possibly) looking for a head that can give me that in a small package, for a modest price. Having said that, maybe the cab is as crucial to achieving this as the head. [/quote] You want an Ampeg sound and your kit doesn't do it... but then you also say your kit says it does exactly what you want it to do...?? make up your mind..

Not impressed with how a large chain displays their Sadowsky Metro range and the prices to go with it. I'd pay £2500 for the right NYC but not sure I'd pay much more than half that for a metro ..or the ones I've played/seen. At £2500, that brings a lot of other basses into the equation ...IMO.. so you are getting into very fine details. I could add a NYC to my quiver but not at the expense of what I have... I guess I would have to see it and it would be a very hard decision to make

A simple PJ config as a 5st would work well for me.. I don't see any point in going for a humbucker option myself....as I think the HB would overpower the sound of the P bass pickup.

This is a muddle... none of the stuff seems to do what you want it to do... so you are fixing a fix. Sell it all and start again. Ampeg Portaflex.. PR amp and Portaflex cab..!!

[quote name='Beer of the Bass' timestamp='1369610795' post='2090934'] Another wee rant under the header of gig etiquette; Dear Other Band, yes, I know changover times are limited, but I could pack my gear a lot faster if you hadn't just dumped all your sh*t on top of it two seconds after my last note rang out. And our singer/guitarist could get off much quicker if the "promoter" didn't stand in the middle of her cables and pedals to call the raffle. Grrrr! This happened to us this evening, and we were not impressed. [/quote] Things like this is why you need to take control of the happy amateur hour. Just as bands work at it to get the songs working, they should extend that professionalism, for want of a better word, in getting the overall show working right. There should be stage hands or a 'manager' who runs things tightly...if people are too stupid to work out that gear off is before next gear on...!! It is a fine line between getting known for having 'egos' and doing things well. A lot of party organisers have such a lot of work to do the last thing they give ANY thought to is how the main entertainment event will actually work. It isn't only about 1hr of music or whatever... It may well be that the experienced bands tell the organisers how it should be...and at the very early stages, so you can pull off the gig if need be, This isn't far short of contracts...and whilst that is a hassle as well... you can see why they are required at some point. This fine tuning of the running of the show is what promoters and their team and should do well.. as well as sell the gigs, and then they will be worth their money. One of our biggest.. no, best, clients are hard task masters.. but they pay well and look after you properly. They have a great back stage rider..and if you know the client, you'd understand why... and they charge high ticket prices..we think.. but the shows work. When you consider everything...you are lucky to have them working WITH you.... they do things properly and that rubs off on everything else.

I read this wrong...this isn't about getting the passion back...as in it went somewhere and we lost it, it is about finding time for something you want to do. You'll just have to put it on your list of chores to do, like everything else

Strings go off within weeks...so 18 months is way overdue to getting to the thump stage. The easiest option to look at strings but I'd be thinking it is an EQ/wiring issue on the bass or amp..??

For an amp and cab/cabs, you'll have to go SH... nothing wrong with that...or rethink your budget.