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I've got two lil' barefaced one10s. For gigs I'll use a TC Electronic BH550 up top, sounds pretty good and cuts through the twin guitars and drums of our heavy rock band. I've also got the BH250 for smaller gigs/rehearsal. Great lightweight amp, spectra comp toneprint sounds great on both, built in tuner and I use it with headphones and the aux lead for home practise. I've seen the BH250s on the marketplace here for very reasonable prices, looks slightly bigger than a TE elf

Spanish Bombs - The Clash

I'm Going To Spain - Steve Bent

There's a really cool bass groove on Melvin Taylor's version of a Blues classic called 'Cadillac Assembly Line.' The bass is muted, which produces a really distinctive tone, and a punchy, short attack. It's worth spending time learning how to use the thumb to produce this muted tone as it can be very effective in certain situations. In my latest YouTube video I talk through this technique and show you the main groove and some variations from this version of Cadillac Assembly Line. Enjoy!

I use an Aguilar TH500 with my One10. IMO they are a great pairing.

Looking really nice! You know this is going to be really good and an excellent player, people... BUY IT! BUY IT! 😃 WHAT DO YOU MEAN, YOU HAVEN'T BOUGHT IT YET..?!

Walnut & Elm Jazz – Basically Done (Just One Screw To Go…) Just waiting on the Schaller strap button and then I can officially stop fiddling with it and admit it’s finished. Chrome control plate is now on, which sharpens it up nicely and stops me staring at it thinking “does it need something?”. It doesn’t. It’s done. I’m not touching it again. Probably. This one will be looking for a new home shortly. Specs: • Walnut & elm body • Nitro clearcoat finish • 9.8lbs (solid, but balances well) • Roasted maple neck • Rosewood board • Guyker tuners • Fender Pure Vintage ‘66 pickups • Bloodstone Guitarworks loom • Hipshot bridge • Schaller strap buttons Finished in nitro clearcoat so it’s got that proper thin, resonant feel rather than the dipped-in-plastic vibe. Set up properly. Low action, no nonsense. Tone-wise it’s got the proper Jazz thing — warm and woody on the neck, bridge has bite and a bit of honk when you lean into it. No active wizardry. Just good components doing what they should. Looking at around £750–£800 ballpark when it goes up properly. FS thread to follow once the final strap button goes in and I resist the urge to “just tweak one more thing”. MGCS – Made to play. Built to last.

1. What's under the screw-on lid? Pre? Battery? Stash? 2. What's the logic on the pickup spacing? 3. Who did all the graffiti on the Limelight one? Is it replica gráffiti?

Palm Mute with index plucking finger as plectrum substitute (?) very good

I have until Thursday to consider this Wonderlove mk1 I have a Proton mk 3 but thought it might be nice to try another 3Leaf Audio product I prefer the SGFX Bi-Filter to the Proton , but I'm running 2 boards due to pedal addiction

Anything reasonably decent will do the job. A pal uses an Elf with a BF110 and it works well. Why not take the 110 shopping and try a few? It weighs little, so no great effort required in carrying it. If you already have a higher powered lightweight head, there's nothing wrong with using it with the 110 and keeping the volume level sensible.

https://www.hellfiretools.com/product-page/sawfish-bass-33-5-34-35 I'd get this one, just for the money back guarantee at the end of the sales pitch!

In my experience, IEMs just won't ever feel like a stage sound (if you're lucky enough to have an incredible monitor engineer you might get close!) BUT they do help you monitor your playing and the rest of the band in a more isolated and precise way. I think it often sounds worse for the players. I guess compared to stage monitor, you're missing out on: The sound of your EBS cab, how the speakers colour and compress your sound The ambient sound of everything else on stage and from the audience The reverb of the room, even if it's very subtle, and the sense of space and distance that comes from that Instead, you're getting a DI signal from your bass, and all the other inputs, delivered directly to your eardrum, whilst muting the outside world. It makes sense that rolling off your tone a bit sounds better in your IEMs, as the high-frequencies that would normally get attenuated by your speakers and soaked up by stuff in the room, instead gets pushed point-blank into your ears. The honesty of it can feel kind of brutal. Pretty much every singer I know hates IEMs, because the directness is a bit uncanny. Anyway things that have helped me make an IEM mix feel more natural are: If you can process your bass monitor feed separately to FOH, add some compression and roll-off some high-frequencies Have a stereo mix and pan the band to match their position to you on stage Blend in ambient mics to get some of the room sound back (obvs not FOH!) Try adding some short reverb to things like vocals/guitar where there's a bunch of high frequency. Helps it feel a bit less direct. If you don't need to look cool, using over-ear headphones like DT770s or something, gives your ears a bit more breathing space and helps you feel a bit less isolated.

What a great thread 👌 Thanks for sharing!