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J Wilson said:

Possibly the one gig where you'll NEVER be too loud.

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Yeah, they rarely change the batteries in their Beltones. Blast away!

Riis

2 things here.
A) The guys are idiots
B) They just needed an excuse to get rid of you
Either means you are well out of it.

Update:

Bass directly into amp: perfect
Bass into wireless transmitter into receiver into amp: perfect
Tested every pedal I own individually, running through the transmitter, etc: perfect

So zero issues found…

I am going to test each patch cable and each power supply cable I have today

My mamma taught me not to put my feet on nice things.

This moves along nicely -
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And for a female singer, this is great -
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fhm555 said:

have you tried swapping any more cables in your chain?

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I have not but today i will have to do exactly that.

Conventional wisdom holds that an end-of-pocket shim is the soundest approach when dealing with bottomed-out saddles. This is assuming the strings are installed correctly and the balance of the set-up is within spec. Deepening the saddle slot is a workaround but, as others pointed out, this may compromise the plating. OTOH, saddles are relatively inexpensive and easily replaced.

On the plus side: once the neck is removed, this is a great opportunity to do some light "housekeeping" which may have been under-addressed at the factory.

*Chase the pocket screw holes so there's a clean pass-thru and modicum of wiggle-room.

*Add some screen to prevent lateral slippage.

*Once the neck is re-installed, leave the mounting screws loose and use feeler gauges (...if necessary) to align.

*Once the strings are re-installed, tune to pitch or near-pitch THEN full tighten the mounting screws. This pulls the neck heel firmly into the pocket.

Riis

damonsmith said:

I've had a lot of single lessons that were impactful. One important thing is to ask them specific questions about what they do that you want to learn. Otherwise they will just pick at your left hand for the whole lesson!

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i've had four bass teachers that i studied with for years each. all were great. two were through the colleges i attended at the time..

but i agree that some of the most valuable stuff i got, came from a single lesson with someone i wanted to meet/pick their brain.

but, that of course applies specifically to reasonably established players who go to a particular person for a particular reason.

as far as NYC people, cole davis would be my top pick. just a wonderful player, and he seems to be a good teacher.

The 1/4 inch jack burned up from the excessive current.

What cab burned has the burned up 1/4 inch jack?.......That may have acted as fuse and saved the cabinet!!

When you say 810 Classic do you mean an original Ampeg SVT 8x10 cabinet or the newer "classic" series.

With Speakons at each end the amp end will be wired 1+ 2+ the speaker end wired 1+ 1-. The 2+ connection becomes the 1- at the speaker end.

I was gonna date mine too but my wife said no. Sorry, things a bit quiet here so thought I’d liven it up a bit. Hope someone can answer your question for you

Speaking of budget brands, I’ve been hearing some buzz about Gear4Music and their house brands. I think they’re based in the UK. Seems like they’re directly competing with HB. Any of you guys have the scoop on that company?

Shipping company experiences vary wildly based on location. Where I used to live UPS was really good and Fedex Ground got the job done, nothing more. Where I live now, UPS is still better than Fedex Ground -- both are worse than before but not as bad as the stories I hear from people in other parts of the country.

Fedex Air/Overnight is always great, but that's an entirely different operation than Fedex Ground (Ground depends almost entirely on "contractors", workers for Air are full-time employees).

I don't know if I like them so much.
It's a bit special.
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With Rufus Reid...
A big difference...
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Make sure the ground wire going from the electronics cavity to the bridge is solidly attached to the bridge. Many times the wire is just "shoved" under the bridge and makes contact from the pressure of the bridge screws. In some cases the wood against the wire becomes indented from over tightening, and there's no contact with the bridge metal. This has happened to me on several occasions over the years. Simply repositioning the wire fixes the issue.

I'm joining this thread for a similar question.

I've spotted what it looks like a good deal on a 63 Reissue made in Germany Hofner.

Im not an Hofner expert, and i kno that ignition basses are often modified to look/sound more like their German counterparts, by installing zero frets, german pickups, german controls etc ...

Are there some general rules of the thumb to tell a modified Ignition from a German made bass ? Or to tell a Contemporary from a German ?

Thank you

2F/2F said:

When you say you can't lower it below 5/64", do you mean that the saddle can physically go no lower? Or do you mean you can't lower it without buzz?

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Can’t physically go any lower.

It looks like a tidy-enough mod. I'll only offer that the switch in the switching jack isn't really rated to handle the power of the amp output -- its designed for signal level switching. It will probably work fine, at least for a while. If you do have a situation where the speaker isn't working with the onboard amp, that's the first place I'd look for failure.

12bass said:

Gather that dialing in two different usable sounds on the XB is difficult if one of them uses Mix/Crossover mode. The XB Driver's strength seems to be in having a lot of adjustment range to really dial in distortion sounds, but not so much in terms of having the flexibility to dial in two or three tones that can be switched on the fly. Two good sounds may be achievable with a bit of compromise. However, perhaps it might be worthwhile to play to its strengths, and focus on creating the best single distortion tone possible. Gather that, similar to the DP-3X, many people are disappointed to find that the XB really works best either on or off, not as a channel switching drive pedal, which seems a tad less than expected given the cost. Broken record here, but it really seems like a pedal like this needs presets to offer that sort of flexibility.

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This may seem elementary, yet bears reiterating: a good mix or mix+crossover sound will often not be a combination of a clean signal and a drive signal that each sound great on their own.
Approaching/applying the XB as a pedal version of the dUg Ultra Bass head rather than a programmable switcheroo effect can help set more easily achieved expectations.

Toss in some old standard hymns and gospel. How great thou art, amazing grace, I’ll fly away… Around here the older folks love them.

Sean Duncan said:

Hello, I've been learning to read music from a hal leonard book. They teach to use index on first fret, middle finger on second fret and pinky on the third fret.

For the first shift, they have it as index on third, middle on fourth and pinky on the fifth.

Conversely, I had a bass teacher that taught one finger per fret. He didn't give me a definite rule on shifting. Kind of depending on where you are and where the music is going. If there was a definite rule, I'd think it would be finger-per-fret on 1-4 and then 5-9 and so on, maybe adjust it depending on the key you're in (finger per fret on 2-5 and then 6-10).

Typing this out I kind of got my answer, I think I should disregard the Hal Leonard books suggestion. It was probably written with kids playing in mind that likely can't do a finger per fret.

Open to suggestions and comments!

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If you're playing in F minor or F# minor, you want your index on the root.

That book is not making sense.

Lowest note on a mandocello is C2 at 65.4Hz where the lowest on a guitar is E2 at 82.4Hz so two full steps down from guitar.

The string pairs are usually unison, but a mandocello is one of those instruments where you can easily mess with string gauges and tunings - mine is currently strung in octave mandolin tuning i.e. GDAE.

An interesting question is if the mandocello, octave mandolin and Irish bouzouki are actually all the same instrument as there's no fixed scale length for any of them. The mandocello came first afaik.

I used my Fender Rumble 800 for the first time in a live setting at a local bar along with my Tech 21 Bass Fly Rig v2. No DI or miked up amp, just the amp, Fly Rig, my band and the bar. And I was impressed with its fullness and volume. I've owned this amp since they came out but never had a chance to really test it in a band setting.

smeet said:

Looks nice. Is it quantifiably or empirically better than the Empress and other such pedals?

I’ve considered the Whirlwind, but space is a premium on my pedalboard.

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I wanted an eq pedal that doesn’t affect tone when switched off. I seem to notice tone suck more than most players. The redux has a powerful effect where, I remember the empress sounding as if the eq was in parallel with my dry sound and not having as deep an impact on my sound, no matter what my frequency measurements said. The redux and whirlwind make a difference when you turn a knob. I do prefer the easier/faster adjustment of the bass10 but, the redux can do things the whirlwind can’t, and it’s a lot smaller. That’s why I own them both.