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Hi all This is my current set up and I'm just checking if the pedals are in the correct order or not (I'm looking to understand any science or rationale behind it). I'm also looking to add a Boss GE-7 EQ pedal and I'm wondering were that should sit in the chain. Thanks in advance..... Mike Ampeg - Always on Nova Drive - When needed 3/4 times in the set Bass Clone - Very rarely Spectra Comp - Always on T-Rex - Always on left channel (Set medium so I can turn it off to lower volume or flick the right channel on to increase volume) Boss GE-7 - ???????

Looking forward to seeing this. Jon is a true luthier's luthier...

I tried them in two different gigs I had this last weekend. I have to say that they are great. It was the first time for me using custom molds and they fit perfectly. So perfectly that they are difficult to remove hehe (I cannot just grab them from the in ear itself because I could damage it. It happened to a friend who went custom molds in the same place with his IE400). The sound improved. I have to say that during soundcheck I was concerned because there was too much low end without any definition, I control my in ear with a Rolls and I couldn't find a sweet spot. However, as soon as we started the gig, everything was perfect. Bass had a lot of definition and I loved it. Low end is now more present and highs were a little bit rolled out (not so much, but a little bit. I prefer it this was to be honest). Do I recommend it? Absolutely.

Nice…. Interested to see how that went. I’m big time into fretless at the moment, just not sure I could pull off a whole set on one.

Similarly with recorders. I once went to an orchestral gig to watch my partner playing her sax and the whole thing was spoiled by the support - a recorder ensemble. Aaargh (though they did have a bass recorder which touched the floor!) Too many memories of watching the children perform at school concerts.

I'm also taking the PA gear as well as the lights so, as Phil has touched on, getting something that that I could transport easily and be quick to set up was a key consideration for my crew. Back in 2018 we got a pair of basic Chauvet DJ bank bar lights and a Chauvet GigBar2 all coming to around £500 back then, when there wasn't so much choice as now and figuring it all out as a newbi without the benefit of this thread! But the GigBar2's relative bulk for transport meant it was only getting used at functions and the Stairville CLB5 is much more compact for transport, although I'm sure that @Stub Mandrel is correct that you can set up t-bar stands for less, but in my case (and the other two band leaders who bought this unit for their bands) getting something that was "plug and play" and in a convenient bespoke case was definitely a factor, and it complements our pair of DJ bank bar lights which we now mount on our PA poles to give us a modest but decent lighting set up for most of our gigs. I pulled together a short video clip to review some of the already-provided settings to share with the band - setting 12 got their vote! Stairville CLB5 - Selected light settings

Oh...and do have a look directly underneath to make sure that there are no cracks showing in the neck - there isn't a huge thickness of neck wood at the bottom of the slot here.

So, after many weeks of waiting, the black bridge finally arrived from EB in the USA. FINALLY! One added bonus is that Anderton's haven't said anything about returning the old bridge so I am going to hang onto that for now and if I don't hear anything for a few weeks, then I will look to re-claiming some of the ridiculous amount of money the bridge cost me! Just fitted, re-strung and a (very quick so will need further adjustments) setup means this project is finally finished. I'm very pleased with the final outcome and it certainly is now very much a one off in it's own right. the black hardware really adds to the look of the bass IMO and with the black scratchplate and knobs, against the washed open pore polished finish, it really works for me. Like may SR5s it is a bit heavy but I think this one may stick around for a little while now. looking forward to giving it a proper go very soon.

Is it not a good idea only from the perspective of getting a good seal on the drivers or is there another reason?

I think he's great. Makes good points, plays well (and stuff which is actually listenable not noodling), and is funny. I think the people who don't like him are just players of the Dipstick lick 🙂.

Every time I see him I can't help but think about an attitude that also leads to this picture:

A basic DI box into the PA will get you going. The ADI 21 is a good way to try some tone shaping, but worth buying just as a DI box even if you don't turn it on. If you have reasonable stage monitors, that's all you need. Depending on how loud you are, and if you don't have any on-stage monitoring from the PA, a small acoustic guitar combo might be worth considering. I have a Roland AC60 which is now discontinued but can be found second-hand. There's also a 30W version, the AC30. It has an anti-feedback filter and other effects such as reverb and chorus, and best of all it can be stuck on a speaker pole so it is at ear height and he'll be able to hear himself.

You've been most helpful Martin! Off to electronics store to look for terminal blocks! Thanks again!

Best wishes. Keep the goal of getting back on stage in your mind to help you through.

I laughed because, at first glance, I read that as "but with a berk". Near enough, I suppose.

After a few frustrating rehearsals (arrangements unarranged, mistakes and confusions ignored, keys changing hourly etc) last night's rehearsal for Friday's big gig went really well. It all came together and while it wasn't perfect, we were all aware of the little things that need tidying. Our sound engineer was dancing to some of the songs (always a good indicator), there was laughter from the band and cups of tea all round. And we managed to finish early enough to avoid the worst of the amber rain warning. We play the local Crown Court Xmas party on Friday - its a fun gig but knowing there are judges and barristers there (including our singist), and that it's for people he works with and has to maintain a certain reputation with, there is an extra element of pressure.

Saved for future development

I'm just starting to use a DMX controller to control our band's stage lighting. There's nothing wrong with using the built in programs but they tend to be disco orientated and literally a bit too flashy for band use. Good for the audience if they are up on the dance floor but nobody wants the lights to flash off in the middle of a tricky bass run If anyone has any practical experience or tips to offer I'd be glad to hear them and I'll save the first post to try and pull together the best tips and build up a wiki/how to help people as new ideas are added.

Nah, I don't see the point in limiting oneself to a single brand, no one brand does everything the best or the way I'd want. I use pedalboard size and the fact that I only have one pedalboard to limit pedal purchases. The last time was a straight swap, TC Electronic Brainwaves out (and sold), Boss XS-1 Poly Shifter in. There's no room to keep both, nor is there any point - the Boss does the job I want to do better than the TC, the TC has tonnes of features I never use. Plus the Boss wasn't exactly cheap, so needed to sell the TC to backfill some of the expense. How many pedals is too many? Again, my arbitrary pedalboard size (because I made it myself) dictates this.

Nope, just nope....

They are great - just fill the ceiling with little red and green patterns for a fiver - whats not to like