Muzz

The Streamliner has a particular tone stack that is both interactive and not immediately intuitive (hence that loooong Talkbass thread) and is proving in the longer term to be a Marmite amp. Mine works really well with my Schroeder 1515, which is another heavily voiced oddity. It happens, though, that they are a very good match for each other: one mid-shy(ish), one with a biiig low-mid bump. To my ears (and I've AB'd this a lot) the Schroeder suits the Streamliner better than the Barefaced Super 12T, which is somewhat of a paragon of a cab these days. By simple substitution, it's clear that the mid-shyness is the amp rather than the cabs, so I'd slog away at the EQ of the amp for a while yet. It took me weeks to get to grips with it, but I'm happy with it now.

Yep, the BDI-21 is a winner in this category all right...

Bought a really nice bass from Paul. Completely painless transaction, deal with him in confidence, he's one of the good guys! Cheers Paul!

That's how I play it - I can't think of any other time in any other song I've come across the need to do it that way, so I don't worry about long-term damage* - it's only the chorus, guv'nor... * At my age, the phrase 'long-term' indicates less and less anyway...

Just seen this thread, coincidentally we added Locked Out Of Heaven to the setlist over the weekend, great song, goes down a treat with the punters, and a blast to play. We also added a Courteeners song (Not 19 Forever) that was by comparison a dirge.

[quote name='Bilbo' timestamp='1367579412' post='2067127'] I am just trying to give myself permission to be crap and happy at the same time [/quote] NOW you're talking my language As has been mentioned, there's a very real possibility that you're your own worst critic - 120 gigs a year in a genre where musical scrutiny from players and audience is at a relatively high level means your peers must be impressed. Either that or you've got a van.

Heavy Weather indeed. Listening to those clips, I think it's the parpy sound which I dislike the most. Technically very good and all that but leaves me cold and slightly irritated. Edit: back to the OP, first time I heard Jaco was via Joni, on Hejira. Still like that album.

Love a Thunderbird, but my obsession with maple boards means it's got to be a Fenderbird!

Almost everything I've got is modded in one way or another - even my Dingwall. It's done for various reasons, to add bits I prefer to standard like bridges and tuners (Schallers and Hipshot Ultralites), functional additions like Hipshot Xtenders, and purely cosmetic bits (chrome surrounds and pickup covers on my Fenderbird). I keep going (and sometimes backtracking) until I'm happy. There are very few stock basses I like these days, I usually end up looking at something and thinking "It's really nice, but it could do with a better...bridge" or somesuch. It's also helped me define exactly what I like in a bass, and I play pretty much unique instruments. I wouldn't ever simply add the value of the bits up and value the bass at that, that's about as valid a method as getting Ford's parts catalogue out, adding up all the bits and claiming that's what your Focus is worth - the mods are done solely for me, and in most cases if I was selling, I'd put the bass back to stock and keep/sell the parts.

Every Rickenbacker I've ever tried or owned. I love Thunderbirds visually, but I'm in the process of making my second Fenderbird (this time with a Lakland neck, so I suppose it'll technically be a Laklandbird) as I prefer the ergonomics.

Love the look of the Sabre, but not a single tone in that vid appealed to me.

I've got the Big pair in a couple of basses, and I really like them, very ballsy pickups, and one of the few bridge Js I'd ever consider using soloed.

[quote name='molan' timestamp='1364341119' post='2025281'] Also - Bass Central will negotiate heavily on price. Don't believe their list prices! [/quote] Oooo, thanks for that one!

It's a family holiday (Mrs and the boy (8) ), staying with friends in SC, driving down to Savannah to watch friend's lad who's playing as an All American for the USA Eagles rugby team, then a week round the parks in Orlando. Three weeks in all, should be able to get a bit of bass in there somewhere - the Mrs even suggested I buy a Sinsonido for the trip...

Oh, I won't forget.

Sooo, the holiday Stateside starts tomorrow, off to South Carolina, Georgia and Florida, so a trip to Beaver Felton's Bass Central is definitely on the schedule, and I wondered if anyone has any wizard wheezes for bass-related purchases to [s]smuggle[/s] innocently transport back to Blighty? I'm up for anything up to and including a whole bolt-on neck bass (which could be dismantled and split up amongst the baggage - to spread the weight, obviously) - am definitely going to buy a few sets of DR Low Riders, for starters. Answers on a postcard...all suggestions gratefully received, etc.

[quote name='BigRedX' timestamp='1364317930' post='2024815'] Technical ability is easy to quantify. However quality of the music itself is entirely subjective. Therefore technical abilty is easy to discuss whereas the music simply comes down to do you like it or not? - end of story. I'm a song writer first and foremost so technical ability only matters to me when it prevents me or one of the members of my band realising the ideas I have for a piece of music. Ideally we practice until that is no longer an issue. What leaves me cold about a let of technical prowess I see demonstrated especially on bass is that it is compensating for the fact the player is deliberately making things difficult for themselves by using an instrument which is not best suited to the sounds/music being produced. TBH I rarely listen to individual instruments in a piece of music, but enjoy the overall effect. If I do notice any instrument in particular it's normally because I think there is something inappropriate about the sound or note choice for that piece of music. [/quote] This. All of it. Saved me having to type out essentially the same thing...

Since I've had mine, several amps have come and gone, but for me not bettered the Streamliner. Two Mesas (an M-Pulse and WoT's Walkabout), an Ampeg SVT 7 Pro, an Ashdown Spyder and a Markbass LMIII. I've tried Shuttles and MB Tubes, and I had a RH450 for a while. The Streamliner's got an odd tone stack, which needs to be learnt, as it isn't as intuitive as a 'normal' EQ, but for me it's the best out there. I can see it wouldn't suit some cabs, but it's great with my Schroeder 1515L and Super 12T. Very warm and valvey, but with a ton of oomph. I mostly use my Dingwall with a P-Tone pickup, Ps and my Fenderbird with Dingwall pickups. Nickel rounds and 80% pick. Oh, and it lights up a very pretty blue...

And if there's no internal empty feeling or screaming? I'm feeling emotionally short-changed here - I'm clearly several drama levels below where I should be...

[quote name='bridge' timestamp='1363802797' post='2017943'] Bloody hell!, they could play Mustang Sally, over and over again at a gig, who would notice, or even care lol [/quote] I circumvented the whole dreadful 'covers or not' issue by watching it with the sound off...still good...

Oh, come on - we all know any number of visually impaired, left-handed, powerlifting Yes fanatics with a couple of grand to spare...or is it just me?