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Someone here mentioned separate volume knobs and it's currently driving me mildly loopy. Just had the electronics swapped on my Jackson Kelly and I have two active EMGs with no preamp so separate pots it is. How does one deal with this? Having played for almost 9 years now and gotten used to having a master volume to quickly mute/unmute my bass with. I can quickly turn both down easily enough but turning them both back up is a faff. It's especially annoying since one of my band's tunes has a part where I do a volume swell up on a big power chord. So far I've been doing it with just one knob and then turning the other one up once it's already ringing out at full volume but sometimes I forget to turn up the other knob (like on stage this weekend oops!)

I didn’t use compression on my bass for years. However, I did a recording, where I sent the results to a friend of mine who ran a FoH company and produced the best live mixes I ever heard (not hyperbole). He is is also a recording artist. He liked what he heard of my recording, but suggested some subtle comp settings to enhance the sound. I tried them and was really surprised how much better the bass sat in the mix. That was it, I went and bought a compressor (an MXR M87) and it’s now my always on pedal. I put it at the end of the chain in order to use it like compression on a recording.

A massive thank you to all for your various contributions. It's very much appreciated. CHEERS Paul h

That thing looks really cool! How does it sound? I've Googled but can't seem to find a black one for sale anywhere. Each to their own but glam isn't really my thing apart from maybe W.A.S.P. I much prefer the cult classic German underground death/thrash metal band Poison! BC Rich are still at it today with their guitars! Look here for example, tonnes of purples and yellows and crackles: https://www.andertons.co.uk/browse/guitar-dept/electric-guitars/?cio_brand=BC+Rich A mate of mine has a crackle Ironbird and I just can't wrap my head around it. The over-the-top glam finish is totally not my thing anyways but each to their own. But on an Ironbird? A guitar shape famous for black/death/war metal bands? The mind boggles. I'm sure Suffolk is very nice but I think my band mates and musical friends would immediately disown me if I was caught dead with that thing lol. Really not my thing at all, and now I don't have to spend 4 hours before a gig getting my hair and makeup done.

Firstly can I thank all of you for the help, guidance and patience it has been and continues to be much appreciated. Having tried to get my head around everything that's been said here's my plan. I'm more than happy with the two BC110's as they are. I've not run them together but individually they are both fine as is. So I'm going to leave well enough alone and just finish off the appearance (sometime). They are perfect for what I need. I have quite a bit of plywood so I'm going to make a new baffle for the old Ashdown cabinet and put the Eminence 15 in it as a sealed cab. No vent no tweeter, and if it sounds OK the I'll strip down the tolex and cover it in van carpet to match the 110's. I'm only doing this as I have everything at hand to do job. I expect with my clumsiness if the 15 is left lying around I'll only put my foot through the cone t some point. As I mentioned somewhere in this trail, I also have a couple of Laney Richter Combo's that I can use if I every need to. Thanks again to everyone for putting up with my ramblings on the adventure. At some point when (perhaps IF) I finish them I'll post some images. Now its on the finishing the VOX Phantom short scale tribute bass I'm also in the process of building. David

I always had issues with wedding work. If you’re playing a pub/club/whatever, there’s a decent chance that folk have come to see you, or at least are staying to give you a look/listen. However, at weddings, you’re the hired help.

A very easy and quick transaction with Francis for a couple of D’Addario B strings from me, marvelous stuff, thank you.

Tea for Two - Doris Day

No matter whether someone who knows how to set up a compressor or I (who doesn’t) put one in my signal chain to me it never sounds as good as when it isn’t there. But that’s live, in the studio it always makes it sound better in the mix.

Jeeze, the length some people will go to. Sounds like you made the right call not worrying about contacting him about it. To go to that extreme then he either has serious issues, or is a little shit not worth knowing.

Loving my Sandberg TT Superlight, have now used it in both my classic rock band and my street punk band, radically different sounds for each and it delivers for both really well. And being a Superlight it’s so easy on my back & shoulders too.

Yep! I think you have cracked it! The fins and the casting are identical. Seems like a decent speaker to be honest. And there's some slight paint runs in it so I think it has been sprayed at some point. Thanks so much

Hi @Papabull I must admit I smiled when I saw your thread title. It really is one of those how long is a piece of string topics, and is a very deep and dark rabbit hole to fall down. Personally, I didn't use compression for about 30 years, then came on here and decided that I should. I then spent a fortune on various boutique compressors before eschewing compression altogether. Currently though, my amp is an Orange LBT, which has a bloody great compressor built into it, so compression is now very much baked into my sound. I'd very much recommend having a look at https://ovnilab.com/faq.shtml as I found it an invaluable resource. Enjoy the journey and try not to bankrupt yourself! 🙂

Tea for the Tillerman - Cat Steven’s

Just got in from a Knock Off rehearsal. Used my the Sandberg as back really playing up at the moment. And very well it did too, no matter what I’m playing this bass just adapts so well.

Just got in from a Knock Off rehearsal. Used my new (to me) Sandberg TT Superlight as back really playing up at the moment. And very well it did too, no matter what I’m playing this bass just adapts so well. Only problem is as it’s still quite warm, and we play quite hard I am now very smelly. Yuck!

The reason this should be more valuable than a modern Squier is that it is made in Japan. The earliest japanese Squiers, the vintage-styled JV series are the most desirable and often go for Fender money. Unfortunately this is not one of those. I believe this is sometimes referred to an 'E series' Squier due to the 'E' serial number which indicates it was manufactured in 1987. I'm not 100% sure but I suspect this might be a medium scale precision bass rather than the more common long scale. To check this measure the length of the string between the points of contact (at the nut & bridge saddle) For an indication of the ballpark value, here's a link to what appears to be the same model but in a sunburst finish and possibly in slightly better condition https://www.yeahmansguitars.com/products/1987-squier-by-fender-japan-medium-scale-precision-bass-sunburst?variant=21864889483343 I would suggest spending a little time to find other examples of this model which have sold recently. Then maybe list it on the for-sale forum here at a price you're comfortable with (a one-off listing is available at reasonable cost) or list it on ebay where the bidding can determine how much someone would be prepared to pay for it.