JTUK

No.. I am entirely happy with my basses. I will sell one ..but have been saying that for 18 months, as I don't use it. I've had it for 18 plus years so a bit of a wrench, but I take a long time making my buying decisions so don't often regret them. I've had the amp I use longer but am thinking about an addition. I can't see me selling the old amp though. Both the basses I gig are both the basses I play all the time although I do have a favourite out of the two now. But that took a year to manifest

[quote name='EssentialTension' post='1137213' date='Feb 22 2011, 03:42 PM']I've bought a few things from Thomann. It's always been quick service between three and five days.[/quote] That has been my experience as well

You can see plenty of people with great chops who can't play in a band... The worlds bedrooms are littered with them..and some venture out to gig..but they are so insular in what they do..they don't hear anything else. I wouldn't have expanded on why she didn't get the job unless she asked... Doesn't sound like she was going to do that. Walk away and let her figure it out.

Envious of the 6x10

I would be after a LMll/lll at some point, but a cheap, but very good quality amp that can do warm and grindy..would be SWR SM amps through GS112's. You would get enough low end but also the drive for a bit of character higher up. The EQ on the amp is capable of going extreme as well. SM400 upwards will do most gigs but you need the bass at 12, no more, as the sub bleeds power otherwise. They fixed this useless feature, IMV, later on with the SM500.

Same chassis, different sound bias on the cabs for DB/GS 112 so I guess thet same would apply for the 212's I'd love both as well...if for nothing else the DB looks great in classic black. I need some bigger cabs for a couple of gigs this year so the DB's range are on the radar. 6x10 would be perfect, which they don't do.

[quote name='chris_b' post='1136891' date='Feb 22 2011, 11:26 AM']No they don't! I wouldn't use a JJ Burnell sound if my covers band wanted to do a Stranglers number. So just get "your" sound and play everything sounding like you. Listen to JJ playing Walk On By. He doesn't care about the sound of Dion Warwick's original recording; he just plays it like "him". You just have to do the same![/quote] Agree with the sentiment of you sound like you sound. I wouldn't change anything. I may give it a nod but wouldn't drive myself mad over it. When you are doing covers, I just go for the feel and essence of the track or we spin it ourselves. Re flats, they can do a job and sound more than decent with a technique like slapping ..it just will not sound like rounds.

I wondered where the sings nips off to. In our band the drummer gets the most fuss..... but that is from guys..other drummers, I hope, and not bands trying to poach him...or guys in general trying to 'poach' him :lo:

[quote name='wateroftyne' post='1136727' date='Feb 22 2011, 09:02 AM']I used to share this view, but then I realised that the PA guy is the first to arrive and the last to leave... arguably, he/she works the hardest. Plus, they get none of the adulation. Plus, along with the bar staff, there's a fair chance it's his living. Unlike most of us. So.. I have no problem with some people being paid in those circumstances. That said, most of the charity do's I've done pay the bands.[/quote] Yes, it is a toughie, agreed. Our general stance is that we want something and if its worth doing, it should be done properly and that means the budget should be worked out. Not a total heartless bunch though and you can always say no and not do it. Some gigs have more to them that straight up playing so if it is a market that will lead to other things or a blinding craic, then..?? Each on their merits What is this adulation thing..??

[quote name='wateroftyne' post='1136119' date='Feb 21 2011, 08:05 PM']TBH, I take every gig on its' merits. Occasionally I'll be asked to do something for nowt... if it's going to be fun, then I'll do it. If it's going to be for nowt because someone else is going to make a pocketful of cash, then I'll probably say no.[/quote] This.. pretty much. Every gig I would want a fee... but if I really wanted to do it then I might waive it for a good reason. But the thing that gets my goat for a charity gig..or can do... the bands play for free, the PA guy gets paid as do the bar staff etc etc. It can make you picky about charity gigs if this is the case. I can't see why you would not set out to get paid.

I have always played light and often suffered for it with output and chasing sounds. Now I have basses and an amp with headroom I find it a real plus as I save my hands, don't break strings unless they are defective..IMO.. and there is so much variation I can get from the touch. Whether it is faster, I am not sure, but it is less tiring.

Yep..he just attacks very hard..as does Entwhistle. It probably came very natural to him but he does a good job keeping it clean which would be the nornal trade-off of this approach. You are going to have to hit the strings with a downward finger stroke/dab rather than a gentle upward stroke which most might have a tendancy to do. This is not a light touch player so your left hand might have to get grabby and also not be so relaxed. This is not an easy thing to emulate if it is not your natural style.

No set pattern but I try and do an hour a day minimum. I'll have a few loops that I can mess with or play basic songs on a few CDs I need to get to now..and just jizz all over them, musically, when I get bored. I probably should give it more structure but sometimes it is more important to do things like these than bore yourself and then maybe miss picking up the bass. The whole thing is geared to getting my playing to go where ever I want it to go on a gig so I don't learn lines as such, I just make sure I can do what comes into my head at the time. Of course, there is discipline within the song frame-work but fills need to be instinctive for me.. Having said that, I should mix it around to avoid a few cliches.

[quote name='buff' post='1135256' date='Feb 21 2011, 11:23 AM']I dont really understand what the difference is between a humbucker and a normal single coil pick up. But would i be right in thinking, that a high output single coil pick up measuring 14.5K would have more power than a humbucker with an output of 6K ?[/quote] Not entirely sure where you are going with this quest..... but I had a pickup winder make me a few to demo. The loudest with most winds was the worst sound. I would talk to the winder and let him explain what he does and what he can do to matchup your requirements. The only think stopping them custom winding a pickup for your bass would be, IME, the cover they would need for it. Re output.. a ballsy bassy pickup can be a real hinderance for tone. I find it easier to add bass than get rid of it.

G, good post.

[quote name='Bassassin' post='1134818' date='Feb 20 2011, 09:12 PM']Any danger you'd be prepared to expand on what appears to be a massive self-contradiction? Oh - let me guess... No? J.[/quote] what contradiction..? I never said the equation was that simple. Where did I say all expensive basses are good? That wouldn't be an assumption of yours, would it?

[quote name='Bassassin' post='1134514' date='Feb 20 2011, 04:55 PM']So you are still taking the "if it's cheap it has to be sh!t" line. Does it therefore follow that "if it's expensive it will be good, no question"? J.[/quote] No.

I always like the way these pre's can liven up a sound, plus the passive switch option which is a very good backup. Sometimes I just run passive anyway as I am happy with those sounds on my basses as well. Looks like you haven't explored the mid sweep so far..nothing wrong in that...it is capable of extreme tone shaping, IMO. which needs to be worked in gradually. Glad it worked out. thought it would

[quote name='skej21' post='1134361' date='Feb 20 2011, 02:47 PM']That's fair enough, but I think you are a braver man than I to comment on a bass you have not played on a bass player's forum! Bravo![/quote] There have been one or two other detremental comments not picked up upon by other posters so I am not exactly the lone voice here. It is true that this is a fan's thread and it has gained momentum and no one likes their new toy trashed.. but this bass is priced at a starter market with due compromises built in. I don't need to repeat my posts, but I can bet you that with one in my hands, I'll say the same thing. You can say it is not tactful and not endearing and even not the place here, but the thread is here and I'll post it for sure, when I find one ..preferably not from a skip. C'mon..you have to laugh at that.. it was a joke, honest

ha ha ..you have got me thinking now. Maybe I got the Vanelli album late 70's?? and Yellowjackets a few years later..? At the time I bought the latter I would have been well into who was playing what. Still can't believe I missed it. On some albums I have, I could have told you the entire band and the session guys who have contributed... I would think I could make a decent crack at some of them now..all these years later. yep..put it down to an age thing

[quote name='pnefc42' post='1134307' date='Feb 20 2011, 01:50 PM']Don't knock it mate - thats where the demand for 99% of gigs comes from! Cheers Dave[/quote] Dave..don't wish to be pedantic, but I can't see where I said that in this thread. I did indeed use the word 'plod' etc ... back a few pages.

[quote name='dmccombe7' post='1134389' date='Feb 20 2011, 03:16 PM']Hi JTUK I bought the original album in 78 on AM records and have since bought the CD Album credits as follows :- Joe Vannelli - keys Mark Craney - drums Carlos Rios - guitar Leon Gaer - synth bass Jimmy Haslip - bass on "People I belong to", Feel Like Flying" and solo on "Brother to Brother" Jimmy also went on to produce Gino's current bassist Sandin Wilson's album "Into My World". Both Sandin and Jimmy are good friends and have sent me some recordings taken direct from sound desk with both bassists at various gigs. Sorry mate - I was a huge fan of Gino back in the day and bought the album because of the bass playing. Cheers Dave[/quote] Looked it up on Wiki and agree that he appeared on it. I have the album on vinyl so would have had to dig it out from the depths and I can hear the solo now. Just couldn't recall him on it and I tend to have to good recall of who was who on the albums I had back then. Am most bemused that I couldn't remember that as I have the Yellowjackets album and would/should have put two and two together. Many a time I played along to that album I liked the synth parts a lot too..maybe that is what threw me. what can I say..still surpised/bemused..

In terms of weight only, I can't see the point of Neo over Ceramics for single chassis' myself - we are talking 10-12lbs per cab..but guess it makes sense to cover these basses when you run 2x10/12 lines and up. And I can't nmake sense of slimming down the range when a few that will bite the dust are so well regarded. Maybe they think the market is all about weight now..?? It is to me atm, but I am thinking of a bigger cab for bigger stages if work continues to go that way, And on the list would be the heavier Ag cabs, NV610 and Goliath 610 and once you get to that size you are on wheels and a 2 man lift anyway so the difference between 90 and 115lbs is largely irrelavant If he has sliimmed down to a 4 cab line or so of those DIMS..I would think he has given up on the Pro audience

[quote name='icastle' post='1134283' date='Feb 20 2011, 01:25 PM']You keep picking at it and it's gonna scar... [/quote] Sure..but just trying to keep up with a few replies. To save bumping this further with another reply, I thought Lawrence's post had its merits ..