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maturanesa said:

Im playing with pick months ago, 25 years of fingers. I find it more synth sounding wich is cool.
The track that convinced me is Go from Chemical Brothers. Any other example?

Thanx

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How about a guitarist that plays like a bass player(sorta kinda, no picks)?
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Not yet

tindrum said:

That was fantastic!!

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Right? My mind is boggled.
Now, Stanley Jordan might have pioneered this sort of thing, but she takes it to a whole ‘nuther level…

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Her twang cracks me up; she may be in NM, but her accent reminds me of my late aunt from the Missouri Ozarks.

drpepper said:

What's not reasonable is choosing on your own to go way beyond the question that was asked...researching technical documentation, going into discussions of balanced versus unbalanced, phantom power, pads, XLR splitters, adapters, pigtails, strain relief and how many spare adapters you'd carry AND THEN getting butt-hurt and mad at the OP because he didn't provide enough information to keep you from doing that. That makes no sense.

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This seems rather specifically targeted to me. My response, perhaps it makes no sense because that's not what happened .

bullitproof said:

After close to two and a half years wait this one finally materialized. I can officially be part of the club once I receive it. Not shipped yet but I've got a picture of it!
Mahogany body, wenge neck with ebony fingerboard and tortoise binding 35" scale.
This is the second lefty I've ever seen in 6 years too.
View attachment 7562731

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Did you choose V-T-3-way? or V-V-3-way?

Hi guys and gal's,
I've got a Keeley Bassist in the mail which should arrive this coming week.
I've based my purchase on the brand names reputation, excellent reviews online and You Tube vids (using good headphones).

I feel ive made a good choice/purchase but was wondering what the opinion from the owners of this pedal are

Many thanks in advance, cheers

I've always wanted one too! I'd love to check one out in person, played a lot of BBs but never a 2000

Nick Lowe and Pete Thomas.

Cool idea, not sure about the execution. Looks like some awkward positioning of the output jack and bridge saddles.

Danukenator said:

What bit did you find challenging early on?

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Kind of everything, hah. How to position the bass, basic left hand technique, and basic bowing technique. right hand pizzicato came more naturally to me. I also came from having many years on the electric bass.

SlimDude said:

The entire setup. Plenty of opportunities for overloading.

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Yes of course. But if this is your concern, you only pack a passive bass and a tuner.

Proper gain staging and eq-ing s not voodoo science.
All my pedals are at unity gain, apart from the Empress EQ pedal (last in line).

I am with you regarding gain staging and potential over load.
On this board, every pedal has its job to do. It is not a case of "let's throw every pedal I have on this board"
The Broughton BBA (at unity gain) removes excessive subs and highs right at the start... and the signal just sounds a bit better with this buffer at the start.
The Peterson tuner, ....well, it helps with tuning.
As described, both the octaver and Elite are in its dedicated loop. The loops are passive, so no additional gain here.
Both the octave and the Elite's presets do not add any gain.
Nor does the Cali.
The Empress at the end adds some definition. It does not have a master volume so it adds a bit of level right at the end before the passive DI.

Just bumping this — I think that Joe Riggio is the winner.

I’m going to drop the guitar off on Wednesday and spend what I would qualify as “a bad amount” of money on getting it fixed up.

I’ll keep you guys posted in another thread — not really bass related but, hey, what is a guitar if not a piccolo bass, right?

Jeff Scott said:

Yes, it really was; it amazed a whole lot of people how loud it could get. I no longer have anything in that photo except for the guitar stand.

I used to have two EV B-210 cabs in a few years on either side of Y2K, usually with one of two Gallien-Krueger 700RBs, or for a short while with an Eden WT400.

Nowadays I just have a couple of 1-10 LDS cabs that Don made for me (the last two of four cabs he has built for me).

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Man, that Guild looks awesome! I spent most my life playing 6str guitar, so I'm ignorant to heaps of rare basses. It reminds me of the Ovation Breadwinner. (Except its Guild, and a bass !)

I've had a Kawai FIIB for more than 30 years and it's REALLY great! Amazing build-quality, comfy to play, great sound, a tad heavy but you could do worse in that regard. It's not for nothing that they call it 'the poor man's Alembic.' Wide palette of tones possible, fun to play!

rok51 said:

It should look like this one that @kodiakblair posted. The U.S.A. preamp was made in South Korea as were the active VFL pickups.
View attachment 7561916

Kim

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rok51 said:

Here’s what the top of the U.S.A. preamp looks like:

https://www.talkbass.com/attachments/1786573426040-jpeg.7556631/

Kim

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Thanks a ton.. it had been years since I popped open a cirrus. The the revisions and variants, needed to triple check that it was legit.

Yes, bought a late usa cirrus with about 10 hours of play time on it.

the pickups in my SR300 have three wires, hot, gnd and "tap". what should i do with this wire when rewiring to a new preamp? should i ground it or just cap off? i keep digging myself in deeper trying to get this thing to sound better

MovingPitchers said:

Got to play an ME PJ 21 4 in champagne and wow I'm blown away by it. I am no means a fan of active basses (too many knobs) but even in passive mode it blew me away.

Definitely considering getting one in the future....

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yank the plate and put a standard passive plate on it. i think you just want to make sure to use 500's for the pots, not 250's as i recall. the preamp is not a significant percentage of the value of the instrument, and it's reversible anyway. bottom line, if you love the bass, buy it and play it.

1964

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…some sad news:

I’ve always enjoyed his idiosyncratic style, a refreshing change from the hordes of Britblooze players all sounding alike. I think that’s why Jack Bruce chose him for his early solo albums, he was the anti-Clapton. Kind of terse, minimalistic, but still very rock’n’roll. I met him decades ago at an instore meet-and-greet, when he took over lead guitar tour duties for early Rockabilly revivalist Robert Gordon from Link Wray, and caught him again as he duetted with John Cale. His Duane Eddy-inspired solo on Eno’s “Needles In a Camel’s Eye” always cracked me up, and I eventually learned it, even the harmonized part during the stop-and-go bit.
As Bette Davis proclaimed, old age ain’t no
place for sissies.

The screw on the left is the short screw that comes with Masskicker Bridge by Hipshot.
The screw on the right is from an original Badass ll. They are interchangeable.
I would contact Hipshot.

GwenOnBass said:

Philly points for driving the Sure Kill Expressway
^ this is good place to learn Philadelphia manners, if you haven't done so yet.

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Now known as the Sure Kill Distressway

My daughter swears that from the Valley Forge exchange to the Walt Whitman bridge I do a Jeckyl and Hyde act and my driving morphs from normal to "Philly Mode".

I like to boost C in every octave, because it's more musical. Especially when I'm playing in the key of Db