All Activity

I want to work on my knowledge of modes so I can do double the amount of widdley-wooing.

My new TE1200 arrived yesterday and I quickly tried it and was reminded how great it sounds and easy to get good sounds out of it I’m liking the pre shape slightly scooped tone and adding a bit of low mids using the EQ sounds awesome Now I’m not sure if using the dual compressor is better Pre EQ or Post ? I think Pre sounds better and tames the low end boom nicely but curious what other uses have decided to use and why ?

We’re putting the finishing touches to our newest (9th?) album which we hope to release in the spring. The documentary that has been being produced by a Dutch filmmaker will be released in the spring too. The producer is hoping and expecting us to play several gigs to promote that. Currently I think we only have 2 gigs in the diary (in Italy) and they’re not until October.We have had zero editorial input to the documentary so we have no clue what story they’re telling. They’ve followed us for 3 or 4 years and in that time there hasn’t been any drama, so I really don’t understand their angle. The film will be followed by a double live album which was recorded a couple of years ago in Rotterdam and is being released by the film producer. Despite all this assumed exposure I am fully expecting to be as obscure and penniless in 12 months time as I am today.

The Grapes in Bury St Edmunds has music too I love this part of the country

my exact thoughts ...couldn't really see the point of them until i got the origin cali and now it's an always on vital part of my setup.

what is that centre mm pickgaurd all about?

Desperado - Eagles

Ah... I have a Schroeder 21012L. It's light but moderately bulky, and sound-wise it seems fine. Too many variables for me to even begin to get my head around working out why it sounds the way it does, but I'm forming the impression from what I've read that they're concocted by trial and error rather than designed. It's a good single-cab solution- 4 Ohm, ~1000W power handling. And it generates a lot of perceived volume- I guess it has a strong hump in the frequency response between mid-bass and lower-mid that causes it. The recently acquired PJB C8 is another wacky cab design, yet another kettle of fish entirely...

The Disco Strangler - Eagles

We used to use an ozone generator in a hotel I work at years ago. It sorta worked to take the tobacco hum out of a non smoking room that had been abused. Ozone would be harsh on some speaker materials, especially foam surrounds. Caution required.

A pound of mince left in a port, in the sun, and all the stale smells will be replaced with fresh.

It took 3 days and a poke from me to have NZPost USA depot acknowledge my parcel had arrived. Then they left off my postcode at this end when forwarding. You type your address into their widget and it spits out your postcode. I guess the AI sorting machine doesn't need no postcode no more.

Having worn one of my XXL T-shirts and one of my XL ones, I'm wondering if US sizing has come to the UK. The XL is loose and long on me, the XXL is like a marquee, and I am not as slender and lissom as I once was. Incidentally, I realised that the T-shirt of a cat playing bass was AI generated as there were four machine heads on the headstock, but six strings across the fretboard.

I thought I'd add another anecdotal experience. Sold a Precision pickup(s) to a BCer in Luxembourg, to avoid customs declarations did this via another BCer in Norn Iron. Posted using 24 hour tracked on December 2nd. Delivered December 9th, a mere week later. Even Evri is quicker and more reliable than that.

I had an old Trace 1119 combo that belonged to a touring band back in the days when smoking was still permitted in pubs, clubs and venues. That thing used to belch stale B&H fumes from the switch-on thump to the last note played. No amount of use and time improved matters. Thanks for the suggestions, I'll try airing the little tyke and standing it in the sun (UV and all that) first. Really don't want to haul 8 drivers out of the box If I don't have to. Might try a bowl of vinegar in close proximity, too. That's meant to help. If the cab is stuffed or lined with porous material, none but the nuclear option will beef really effective, though.

I read that and didn't actually register what it was. I have a set of Roland PK-6 pedals sitting here too... ... I just checked my old PMs - I bought those pedals from @ash 😂

I'd suggest taking a look/listen at the Kali IN-5 (£500 a pair) or IN-8 v2 (£600 a pair) 3-way active monitors, depending on your room size/requirements. And acoustic room treatment, of course.

New on this forum, long time bass player. I was wonderin' if anyone replaced their stock Ampeg 15e driver with a Celestion BN15-400X? If so how do you like it? Thanks!

I’d like to get our duo a wider variety of gigs. Stuff that’s a bit different from our regular bread and butter venues, not that they’re lacking at all - I’ve done 95 gigs this year which is way more than I envisaged when I stopped touring with the tribute band in 2024. We have an enquiry for a gig in Stockholm for later in the year which hopefully will come off, so that would be nice. I’d like to play more places like breweries / beer festivals, village halls, arts centres and maybe even small theatres. I think I should be looking at sorting out some better publicity, maybe even a showreel which seems to be the done thing these days. We don’t push ourselves enough sometimes, so would be interesting to see the results if we did.

@Gizmo I just mailed fair deal to enquire. For the price, the construction looks rather good and the finish options look good.

Clean: the unique tone of two split coils in series with flatwounds. Dirty: shrieky octave fuzz with a splash of autowah.

Fretless, flats & finger style but I pluck over the fretboard around the 20th fret(less). Plucking at that point gives a very mellow sound so I tend to boost the mids to compensate and introduce a bit of definition. I could just pluck nearer the bridge but I prefer the feel of playing at that point on the strings as it's much more 'elastic'. I've got into the habit of letting my fingers play into the fingerboard so if I did play further back towards the bridge I'd have to add a finger ramp for it to be comfortable now.

I may be able to help - I've run an Aguilar Tone Hammer 500 and a Markbass AG1000 on rotation in my wedding band this year, over around 50 gigs. I've played them both through my TC RS112 cabs, RS210 cab, and Markbass Ninja 2x12 cabs in a variety of settings. They both do a great job of making your bass sound good live, but you can feel the different DNA when you use them. The Aguilar is very smooth, with EQ points that are more in line with vintage or valve amps. The treble control doesn't get 'spiky' until you're nearly at 100%, and the bass doesn't get boomy until 80% or so. The bass EQ point carried with it some extra mids, so when you boosted the lows you felt a bit more girth to the sound as well as bottom end. The mid controls were something and nothing for me - sweepable mid frequency didn't really get me any extra mileage playing live with PA support, but in a studio setting I imagine it would be a lot more useful for dialling in a sound. In all, it's a very flattering EQ. Volume wise, it had plenty of poke, but the Markbass' supposed 1000 watts felt bigger and had more headroom. The Aguilar also had a better DI in my opinion - more airy and natural sounding. It's also a very light head. The Markbass is a very good tool, but it can be razor sharp. The EQ points on the AG 1000 are different to other Markbass heads and I prefer the EQ points on the AG1000 over the LM3 I had years back. I'm also playing active 5 string basses and get a kick out of that 'zing' you hear lots of gospel players using (though my skills are very much lacking in comparison). The Markbass EQ was very much what you put in, you get out. Whereas the Aggie's was flattering, the Markbass did exactly what it said it would do, and I found that the bass sound out the front of the band was more 'in your face' and solid sounding. It gave all of my basses much more authority. The EQ points should be exercised with caution as there is more to give compared to the Aggie, but the overall sound pushed through a mix much better with the Markbass. The live-in bag is also much better designed than the Aggie's carry case, and the level knob for the DI is extremely useful on the Markbass which the Aggie was lacking. It's a very modern, forward sounding head that can take your eyebrows off with high end or induce earthquakes with lows. In my experience, the mids on the Markbass are more useable in a live context than the Aggie's, but I mainly used the mid controls for taming harsh/resonant rooms rather than overall tone shaping. I kept the Markbass and sold the Aguilar because I'm in a 4 piece wedding band with a full PA, click and backing track mixes, and I wanted to push through that mix. If I was playing more classic rock, used passive basses or wanted a studio tool, I'd probably have kept the Aguilar. Both do a great job, but I'd finish by saying the Aguilar is more classic and flattering to the low end, whereas the Markbass is more modern and uses it's more interesting mids to push through a full mix to allow the bass to be heard.

I agree the 5 in Metallic Blue looks great, spacing looks a little tiger tight (like less than 16mm!) but seems like the board has space to take it out a little with a new bridge/saddles/nut Fairdeal seem to be the only UK stockist for this brand atm (i read GG didn't renew the deal that had as distro) they have some of their headless 4's in (but no 5's) might be worth pinging FD to see if they'll be carrying these ray copies at some point in 2026 ?