Oh, I don't have one with it- mine's a 2012. I was looking at that amber 55-94, but didn't have the $$$
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No worries- re-reading it, I wasn’t as clear as I could have been.
I've been using mostly IEM's for the past 6 years. I ended up getting a set of custom molded IEM's and it really helped with the isolation and attenuation - I have a lower sound level than is on the stage and having the ability to set levels for others is GREAT! ESPECIALLY for obnoxious soprano's (but I'm being redundant!)
On a more serious note - on of the most helpful things is for the feed to include an ambient mike feed that is a bit away from the stage.
Finally - do NOT play with one earpiece out! I found myself bumping up the level in that ear to almost "too loud" levels.
Dan
Make that 4. I don’t mind it much though, one for these makes adjustments a piece of cake... of course i’ve got one on my workbench, one in my hard shell, one in my gigbag, one in my “oh crap” kit, and one in my glovebox...
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All good advice! Thx.
We had a brief training/ tryout session Monday....I have to admit my ears were ringing a bit afterwards . I'll have to work on the volume ( cutting out done channels and lowering others while turning mine up).
Yes... We discussed an ambient mic as well... That is an excellent idea.
We are still struggling a bit with how to communicate with each other
For me, the clarity of hearing the other musicians is extremely seductive and I am always tempted to bump the volume just a bit. As and ex-drum addict I have tinnitus and my goal is to keep it from getting worse, so I try to be diligent in keeping the volume low.
We have one of those set-ups where the musicians are arranged for looks, rather than the band. From the Drummer to the keyboards it is about 75 feet. We could not keep things tight without IEM's. With the IEM's we have resorted to hand gestures - easy to gesture with your right while hammering-on the note with the left.
Dan
Just my thoughts but I really like that dark Tobacco Sunburst, that's a nice looking bass. I've never seen or played any of the "classics" in person.
It definitely was a nice bass unfortunately it sold. My main concern was the resale on it. I found a few for sale that sat for a while even at lower prices. I do think there might be an unwarranted stigma attached to these basses because of the in stock factor. It really is a classic color combo but I think I am gonna wait for a color I really like, rather than a compromise to save a few bucks. Really do want a birdseye maple fingerboard.
Yeah. I love the older ones and will either wait for an older used one to come up or go skyline. I really want a passive j soon.
Just made a new thread in hopes more people would see it but should have just posted it here.
Looking for a reasonably priced jazz bass and really want another american Lakland, but gotta curb my recent spending. None of my local music shops carry either, so it would be bought without trying. I really like the small fret wire on my 4-94 and think I wanna stick with Lakland or other brands with the thinner fret wire.
Thanks
Looking for a reasonably priced jazz bass and really want another american Lakland, but gotta curb my recent spending. None of my local music shops carry either, so it would be bought without trying. I really like the small fret wire on my 4-94 and think I wanna stick with Lakland or other brands with the thinner fret wire.
Thanks
Imo, It was not the best move to call this “cheaper” series Classic, since we all know Classics were alder 4(55)-94 with pickguards.
Agree- that's what Chevrolet did back in the 90's with their Malibu "Classic"...worst built car in America. Not saying Lakland is making bad basses, but it's a bad marketing move to use what should be a high-end moniker with a low-cost product.
this is at the local shop. I might need to buy it.
Thats exactly what I mean. Especially when web still speaks about Classic of old days:
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