ThomBassmonkey

I just saw a comment in another thread that GAS is never gone and disagreed in my head, then thought about it and thought there's still some stuff I'd like to try out, nothing I'm desperate for though. I can hand on heart say that if I ended up using Stingrays into GKs for the rest of my life, I'd be fine with that. Since I got my second GK rig, the only amp I've even been interested in is an MB200 just so I could stick it in a pocket in my gig bag and forget about it unless I ever needed it. It's only basically a smaller version of my MB Fusion (without the valves) so it's not like it's even something different. Same thing with my ray, I've had various offers on my bongo since trying to move it on and in the end I traded it today for another ray. Since having my first ray there's been no basses that have really sparked GAS in me. There's a couple I wouldn't mind having (a Kala electric u bass and Lightwave VL5) but I doubt I'd use either much and they're more curiosity than a desire to own them and I definitely don't think they'd improve my sound (since my band calls for a fretted for starters), they'd just be something a bit different so I'm not beating myself up that they're pretty rare. Anyone else in the same position or am I in a lonely GAS free world?

I wish I could help but the only times I've used headphones with GK amps was at a trade show and sadly some other stalls weren't paying attention to the "quiet period" rules so I wouldn't have been able to hear. Have you tried popping an email to Polar Audio? The link's in my sig, they're the UK dist for GK so they should be able to help.

Just did a trade today with Dan, nice guy, very patient while I was messing about taking the wrong exit on the M1! Nice one mate.

I don't get on with harmonicas either! haha. I know they're basically the same (wind being blown over reeds etc) but apart from the odd dabble where I can get a tune out of it, I've not got much real interest in playing, I'm far too interested in basses.

[quote name='Stacker' timestamp='1337547289' post='1661876'] Those wee button squeeze-boxes...wish i cd play 'em! [/quote] Yeah, I've had a few goes at them but they're just odd and I'm not a big fan of the sound so I've never gone all in with one. There are a few players (Jim being one) that make them sound great though.

I think some people are missing the point. A PA is a band's tool, not just a vocal amp. You use it for pretty much everything by the sound of it. Is there music before/after you play? Would you put bass through it at bigger gigs so if you have a soundman he has control of levels properly? I can understand asking the vocalist to pay for monitors if (s)he wants them, but the FOH system (including desk) is band equipment. If you have a suitable PA and no amps, you can play shows, if you have amps and no PA you're boned. I don't think any single person should pay for it, the two bands (the full lineup and the singer/guitarist's project) should pay for it with gig money. I know arguably that's coming out of your pay so you're paying for it, but without the PA you wouldn't be getting the same gigs (assuming you need the upgrade to play bigger venues) and wouldn't be earning the money anyway. My band has it's own PA and it was paid for with band money, it lives at the singer's house, he has to move it around (usually with help from the drummer into/out of the car since they live near each other then we all pitch in at the gig) and if the band split, I'd have no problems with him keeping it since he does most of the work with it so I'm not just saying hypothetically what I'd do, it's what my band has done.

Yeah, the fluidity of the music is one of the things I enjoy, we just learn the song's parts then keep an eye on the singer/drummer to know when to change. We also seem to add in new sections and dynamics all the time on the fly and somehow get it sounding smooth. Totally different to my other band that's very strict songs (though still very fun). We tend to do our own take on it, rather than traditional numbers we play zydeco in a very ska style. We throw in a lot of popular songs as covers (in a zydeco way). Here's a live vid from Zydecozity that features all of us very drunk and me feeling very aware that someone's pointing a camera at me while I'm playing a fast bit at the start. http://www.youtube.com/watch?v=D82xWeWjlvM&feature=related

These two genres seem pretty quiet on the UK front, they come and go but they seem a bit down at the moment with not many festivals going on each year in the UK. Are there any other cajun or zydeco bassists on here? I'm more asking just from curiosity, I don't know if there's more bands in other parts of the country or if anyone else has even heard of it.

Can't remember my first practice amp, a little 10w jobbie though. Then got a Carlsbro Bassline 80 which got upgraded to a Bassline 150 before I went to college. Not brilliant amps but did the job for about 7 years. Then got my GK 700RB-II and two 210RBH cabs. One of the best amps I've ever had which is why I had a sex wee when GK offered me an endorsement. Sold that rig and immediately upgraded to a 2001RB-II and two 410RBH cabs. Still got that rig but it's very big and very heavy. Not at all practical. Last year I was at the LBGS on GK's stand and had a chance to try out all their gear properly, the next week I got my MB Fusion and two NEO212s. I can't see either of those rigs going anywhere, love them both and I know that they'll do any gig from playing in a pub to 5 people acoustically to playing an arena.

[quote name='skej21' timestamp='1337462774' post='1660562'] It almost is, based on your generalisation of all fenders being worse than a single bongo you tried. 'm just saying that a potential recommendation by another basschatter (yourself) was really encouraging me to try a bongo, until you just dissed ALL fenders in comparison, without reason or justification. I then thought, 'total bias.' Would have been nice to read an objective view of the bass instead, so I can make a decision when making my next purchase, that's all. [/quote] You should try a bongo, they're unlike anything else I've tried. They're pretty marmite. Their mix of pre-amp, shape and painted neck gives them a sound, look and feel that's undeniably unique. What makes a bass look, feel and sound high quality is all opinion. Someone said earlier in this thread that the painted neck makes the bongo feel cheap, it's just an opinion.

My bongo's leaving me tomorrow. I love it, feels great, sounds amazing (seriously, how does a bass sound that fat without being farty?) and looks fantastic. I just don't feel like I could use it as a workhorse bass, I have a ray5 and the bongo is being traded for another tomorrow. I'm not sure what it is, but I got the bongo after the ray and it's never been my go to bass. I think the ray is just exactly what I'm after for live work and although most of my band's latest album was recorded on the bongo, I just don't think it's for me. At first I thought it's because of the price but I've owned various basses that sell new for over the £1.5k mark and it's the only one that's just never begged me to pick it up and play it despite everything it has going for it.

About 8 years ago I went to a rehearsal for a new cajun band. The idea was it was going to be a young band (any fans of cajun in their 40s are considered the youth of the music) so I was the oldest at about 20, the others were around 14 but I knew a bit about the singer/accordion player and knew he had a good reputation in the cajun/zydeco world so decided to give it a go. Turns out that because there aren't many kids that listen to zydeco, he'd had to "outsource" them, they were a couple of his mates from college. One playing guitar that had been playing about 3 months and had managed to learn nothing in that time, me and the accordion player (both of us play guitar) had to show him every chord he needed, even 5th chords were unknown territory to him, I don't know what he'd been doing in those 3 months. The rub board player had no sense of rhythm at all to the point where I questioned if he even listened to music. It ended up with us having a cuppa and then deciding not to bother. 8 years later and I'm in another band with him, it's been going a little over 2 years and we're one of the best (one of the only) prospects for younger people in the UK (and even around Europe we have a good reputation for introducing kids to zydeco) to be getting into cajun and zydeco. Anyone can make a mistake, I'm glad I didn't hold it against him. After that bad start it would've been easy to write him off with all his bands.

If the band needs it, the band should pay for it. Just take gig earnings from any gig using the PA (including the singer/guitarist's duo set) until it's paid off. Then it belongs with the band, if anyone leaves, it's not a problem. If the band's paid for it and it's paid off then the band splits, just leave it with whoever stored it, as it's owned by the band, no one really has a better claim to it than storage. If the band really needs the PA then I can't think of a fairer way of doing it. You could argue that the singer should pay for it since you have to pay for your own amp but ultimately you can get a gigging amp for £200, a PA that's suited to the venues you play (especially if you're having to upgrade) and doesn't sound ass could cost a lot more.

[quote name='woodyratm' timestamp='1337335915' post='1658280'] What kinda sound does the GK amps tend to give? I used to have one of the GK 212Neo cabs, and found it abit - well high? Like modern sounding? cheers folks [/quote] I really need to get around to making that video demo of my amps I've been threatening to do for ages! I disagree about the GK sound being modern, I can understand to an extent about the MB series but the EQ is so versatile it's easy enough to get a more vintage sound out of it. GKs are used by everyone from Duff McKagan to ELP to Tool. The GK heads are known for their growly sound, the lightweight series (the MBs) are a little more modern sounding than the RBs but their EQ is very versatile and with them having a gain/volume, you can set yourself anywhere from spanky clean to full overdrive. I've only used the NEOs with my two GK heads and they are quite naturally bright compared to some other cabs, but they'll do what you want. I found I could get anywhere from spanky through to dubby rumble (with the EQ on my GK heads) and they stayed clear with no mud. On the topic of tweeters, I wouldn't worry too much. People think because the tweeter is quiet, they need to crank it to make a difference to their sound. So long as you don't run tweeters flat out all the time they should be fine. Most cabs have a tweeter volume control anyway that if you don't like the tweeter or are worried, you can set it to 0.

[quote name='markstuk' timestamp='1337334989' post='1658248'] Barefaced S12T and one of loads of Class D amps might suit.. Genz/TC/Markbass are the mainstream contenders... [/quote] And GK! I'm not sure why they're so often overlooked. The MB500 or Fusion would do well in a lightweight setup. Also there's the NEO cabs, I use an MB Fusion and one 212NEO at some gigs and it does a great job.

My gear's sturdy enough to take what's thrown at it. At a jam night recently that my band was running (in a small local pub, acoustic style thing), I actually left my bass and amp there when I went home so they could continue to jam with them. I got everything back in the same condition it was when I left. With gigs, if I get contacted before the gig, then I'll lend out my stuff usually. It's not a big deal, I have insurance and my gear's sturdy and if they ask before hand, I can lay out the rules for them (which is pretty much don't put anything on the amp and don't touch anything apart from the mute switch, I'll be there in sound check if anything needs changing). If a band arrives at a gig then asks me to use my amp, I'll say no 100% of the time. Even my cheaper rig would cost around £1500 and people like the look of it because it's a stack. If they can't be bothered to spend 2 minutes asking me to use my gear before the gig then they obviously have no respect for my gear so they can't use it.

[quote name='51m0n' timestamp='1337116102' post='1655855']You cant polish a turd.[/quote] Yes you can! http://www.youtube.com/watch?v=yiJ9fy1qSFI As for micing, I don't think there's a need. Unless you're playing huge venues, there's going to be bleed into the FoH sound from your cabs anyway (assuming you're not using a mini amp) and a post EQ DI should give you your sound. Don't be afraid to put your foot down with soundmen if there's something you need from your sound, don't be rude about it but they might not know what you're supposed to sound like, they're there to make you sound good, not to make you sound like someone else. I've been told to plug into a DI box quite a few times and when I refuse, I always get the look from soundmen as though they're daring me to piss them off so they can turn me off in the mix. If your gear stands up to scrutiny though, they'll be fine. They just assume that the average joe knows squat about gear (probably true tbf) and has just bought the fanciest amp they can and it must be heard even though the DI barely works! I had a long chat with one engineer and we finished discussing me plugging into a DI vs my amp with me saying "well if my DI sounds naff, then it's my band that's affected", he agreed to DI my head, then after the gig came up to me and told me how good it sounded. If the DI on your amp isn't very good though then I suggest you just deal with being DI'd pre.

[quote name='SimonH' timestamp='1335214926' post='1627531'] Until recently I ran a 350 watt head into a 400w 4x10 and a 150w 1x15... and yup, all you could hear was the 15 struggling. The 4x10 was louder and clearer on its own. Then I parked the 15 and ran another 4x10, this time 800w, alongside the 400w 4x10 and... now I can't even hear the 400w cab. So the solution is to find an 800w 15, I guess. Or turn it all down a bit (not an option). Oh, and recently I blew up a 4 ohm 300w 2x10 (Skytronic speakers... are they supposed to be rubbish?) using a 400w head. Maybe I should turn it down after all... [/quote] The wattage if the speakers is just the handling power, it means nothing about volume, if your 800w cab was louder than the 400w one it's because of the design/components, it's not because it has more power handlng. A 400w amp will put out 400w when maxed. If you have a 200w cab and only put out half power from the head, you'll be fine. Just use your ears, most cabs aren't very accurate with their power handling stats, same as most heads aren't very accurate with the actual power they put out.

As long as the grille is secure, I doubt cloth is gonna make any noticable difference (so long as it's fairly light, heavier fabric might). I'd be more worried about it getting caught when I try and move it.

I enjoyed that. People have got carried away. Because Clutterbuck and the like get slated for not playing music whilst they show off how fast they can throw a stack of pans down some stairs, some people apparently think it applies to anyone playing fast? This kid has melodies and interesting rhythms going on, it's definitely musical (there is a bit of penis waving, but generally it's actual music, not just noise).

Just sounds like a short delay and a slightly dodgy recording to me. The bass is EQd to take out a lot of the bass and put in high (I think) mids so it sounds a bit nasal and there's plenty of fretbuzz.

It's more of an issue on 6 string basses because they generally have substantially wider necks which means more weight and the two extra tuners are yet more weight that end. Get a good suede strap and you should be fine. You could also change the tuners for lighter ones though that's a bit overkill IMO.

Another recommendation for the GK gear. I used to own a 700RB-II into two 210RBHs (basically the same as your combo, but seperates instead of a combot) before upgrading to my big rig (2001RB-II and 2x410RBH, basically the same, but more) and I haven't once regretted getting my MB Fusion and NEO212 cabs. They still have that GK sound and they weigh very little.

I don't really focus on my playing. I try and listen to the music. I find if I listen to what I'm playing too much, I lose the feel of it as I get too in time. I know the songs that we play well enough now that I don't need to think about the notes I'm playing and I'm told I'm a natural musician so I don't need to make sure everything I do is right, I just go on how it sounds instead.

That's horrible. Rays are in that category with P basses, very much a working bass. They don't deserve to be blinged up, they should be left as they are.