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  2. Do they tell you it comes with a counterfeit logo when you buy it?
  3. You should be very careful giving your new cab what for. It is not a case of watts match = safe.
  4. Glad it’s not total firewood! I hope the G stays in tune, that angle is crazy!
  5. These are great and I am only selling as I just upgraded to the BCB-90x. It’s set up with the daisy chain all in place. You just need to add your pedals and patch cables. Cut for six Boss sized pedals. Price includes UK postage. Check my feedback and buy with confidence. PayPal or bank transfer preferred.
  6. I'd be interested to see the packaging.
  7. This is how i see it. IF it has the sound of the BDDI, it will be a good update, especially as it has Chorus and comp as well. Id love to get a programable BDDI but they dont have the MKII Mid control, which i really liked in the BDDI KMII. Looking at it, it seems to have a mid sweep and Q, maybe more like a cut down Q-strip than the old BDDI, which elevates it even higher for me.
  8. I’m a big fan of Boss pedals and have just re-done my board. I went a bit mad recently and have a fair few that are surplus to my requirements. All but the Octave pedal are boxed and only the super overdrive has Velcro on the bottom. I would grade these as at least 9/10 in terms of condition. Prices include UK postage. Boss Octave OC3 - £85 Boss Tuner TU3 - £70 Boss Super Chorus CH1 - £75 Boss Super Overdrive - £60 Boss Bass Overdrive - £80 I looked around online and believe these are priced to sell. Check my feedback thread and buy with confidence. PayPal or balance transfer preferred.
  9. Should be more than enough.
  10. many people outside the US now hear 'Harley' and mentally add 'Benton'...
  11. Me too, otherwise I'd have it GLWTS
  12. Prefer it personally, better balance across the strings. Got this one, and another on the way
  13. Certainly looks interesting. A new take on the BDDI Programmable? As for Tech21 licencing their sound, as far as I know, all of the modelling stuff on the market already has a BDDI emulation on there.
  14. Neck pocket has had it finally adjustment for @Kiwi graphite neck and cavity channels drilled ready for pickup wires and earths. @HeadlessBassist bass is starting to look…well….bass-like. Bum puckering drilling for the neck threaded inserts planned for the weekend😬.
  15. Personally i think this will sound fine. I don't think T21 would bring something out that they would ruin their reputation. As for analogue vs digital, once out of the bedroom i cant see what difference it will make to anyone. This is 2026, are we still having that discussion 😂
  16. Charity events organised by actual musicians are the exception that proves the rule. They can be done well and I for one don't mind playing for free. A large part of the ticket sales will find its way to the good cause. And my drummer only needs to bring his snare and cymbals*. *The guitarist will bring his amp, huge pedal board and 3 guitars. The singer will turn up just as we are called to the stage.
  17. Point of view from the other side. I'm on the committee for the Necton village charity music festival and have been for four years My job is to find and book the six acts. All the profit from the events is split between three charities. Noone working on the day is paid EXCEPT the bands. The committee chairman would like me to find at least five free bands to increase profits. I refused the first year and someone else did the bookings. The disaster that followed (on a par with a very bad open mic night) made them see sense. Since then, every act gets at least £150 expenses. I'll usually try to get the headliners to drop their fee down to maybe £500 but one, has actually refused payment and just taken the expenses. Our bar is run by the committee and village volunteers do the parking We pay for security, medics tent, the stage, sound system and engineers and the 50Kw gennie. None of the organisers and helpers get paid. Bands also get a free burger each and a drink. I would never expect a band to play for free AND be out of pocket.
  18. Swamp Ash Prototype. This is the one I thought I wouldn’t sell! It is a 2001 Electric bass with Swamp Ash body and Maple/Rosewood neck with bird inlays. So here is the special bit. When I saw it for sale at Absolute Music I thought there was something unusual about the serial number. I contacted the support team at Stevensville and here is the story. When Mr Smith has an idea for a new guitar model he keeps either the prototype or one of the production models and keeps them in the factory music room. The design for the EB4 had been settled and was in production but he wanted to try a Swamp Ash body, this is the prototype. It was not initially issued a serial number and only when a smart broker convinced PRS to sell some of the guitars in that room that this one made the cut. At that point it was issued the serial number 150. This is easily established by contacting the Support center at the factory. I have one of the production Swamp Ash models which was the first EB 4 I bought. This model is pretty much NOS and is mint. The only thing apart from cleaning and periodic playing is fitting GHS flatwound 105 strings which IMHO brings out the true tone of the SwampAsh body. I really dont like the idea of sending it so would prefer a meet up or collection and trial first hand. It really is special instrument and worth every penny of £1500 especially safe in the knowledge that Mr Smith himself thought it good enough to keep.
  19. Because I'll be performing more often in the future, I'm currently rethinking my setup and want to follow a no-nonsense approach. I own several tube preamps/DIs, but they're too sensitive for my liking for touring. I've recently heard stories of tubes failing mid-set, and I'd rather not experience that. So, I'd be interested to know what your favorite tube-sounding DI/preamp is, one that doesn't actually use tubes. Price isn't the primary concern right now. I'm looking forward to your replies!
  20. The biggest difference is cabinet size between the 122 and the 102 The 122 is about a third larger in volume and on its own feels more bassier whereas the 102 is definitely a mid forward sounding cab yet has plenty of low end. I think the freq spec from MarkBass states the cabs to be very close in rating except the 102 is a 400w cab and the 122 is 800w As a pick player the less mids in my sound is preferred and more full low end which the 122 definitely provides on its own. The 102 cab is a great cab fingerstyle but a little too mid focused as a pick player until you run a pair of 102 cabs together ( which I did )
  21. Moog Minitaur Bass Synth Module This is the up to date v 2.2 edition, comes complete with box, PSU and manuals. Lovely two oscillator synth specifically voiced for bass but can produce lead sounds too. The ladder filter is classic Moog with weight and width to the oscillators. It is a US made synth - Moog has since changed ownership and now mainly manufactured in the far east. The Minitaur is well constructed in a pressed steel case with nice positive action on all buttons and knobs. It is based on the classic Moog Taurus bass pedals of the 70’s as used by Rush, Genesis, Yes and more. All works as it ought to with plenty of control via the front panel, also presets and the ability to hook up to a computer and fine tweak sounds via free Moog software. The module is in excellent condition albeit with some cosmetic ‘rack rash’ on the sides of the unit. UK only, I’d prefer pick up in person but can post at buyer’s expense.
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  22. Just tried them together but only at home volume one 122 cab nice tone adding 102 cab volume increases ( as expected ) and more bass apparent Not sure if more bass is due to the increase in volume ? Need to crank them loud at rehearsal and see if I like the combination for those bigger gigs where I want a bit more “ cab” Doesn’t sound wrong or bad just different I have plenty of amp power with my TE1200 so I don’t need both cabs for the watts as at 8homs it’s rated around 700w so that’s ok I feel with my 122 800w cab.
  23. This is why every firms "Plexi" amp model sounds different too - they all used a different favourite plexi to model and as we know even plexis made next to each other can sound very different. Then there's different approaches. Fractal have always presented a "perfected" version of a model for ease of use and Line 6 went for warts and all accuracy but that needs a bit more experience to dial in and leads to some people thinking the models are wrong. The new L6 stadium apparently has both options. And then of course finally you get those who say "That doesn't sound like a real XX" even though they've never been in a room with a real XX. Plexi and Dual Recs get that the most. Complaining that the plexi isn't high gain (FFS) and complaining that the Dual Rec is flubby and not a metal super amp (it isn't. Not without boosts and drives).
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