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It’s almost counter~intuitive but HPF is the bassists and sound tech’s friend.

Hi John, thanks for offering to help out, they are non latching momentary switches allowing some basic programming. A double tap saves the settings

Fender suggest 0.38, so I think you're in the region. I'd echo what @Woodwind says - the foundation of a good setup is getting the relief right. You can tinker with the saddle height, but if the relief isn't right you can't overcome that with saddle adjustment.

Saturday night was in a school hall playing bass for the local concert band and it's 25th anniversary concert. Was good fun but a total sweat box, especially when the band committee insisted we all walked on stage in full uniform - ie shirt, tie, trousers and heavy band blazers. Luckily the jackets came straight off when we got on stage.....

As I recall, on turning it on, switch 1 is active. It disengages if pushed but then won’t engage (I need to double check). I’m sure it does click but will confirm when I get home later. i had a quick look before going to work this morning and noticed the spring on S1 is too short and not in contact with the pad. S3 is in contact. Pics attached. I may well take you up on the offer 😃👍 Thanks.

Hurtsfall played the Nottingham Craft Beer Festival in Sneinton Market on Saturday. If you are not playing covers these events can be a bit hit-or-miss and on top of that we were the last band playing that day, so we didn't really know what to expect. Sneinton Market is currently the "happening" area in Nottingham where all the interesting independent shops are situated in units in the old market buildings. On arrival we discovered that the beer festival had taken up the whole of the Avenues area and was entry by ticket only. However to allow people to still use the shops you could get in but didn't get a wristband which was required in order to buy beer. As performers we all got wristbands but I don't recall being asked to show mine before being served. There were two stages - one outdoors where unfortunately the performers seemed to be mostly ignored and also had to compete with all the other music - there appeared to be at least one DJ set up on every avenue, and the other in The Grove where we were playing. Probably the most convoluted load-in so far this year. There was only one entrance and some of the avenues were blocked off half way along the length meaning that getting all the gear to the venue involved not only negotiating all the beer festival attendees but also doubling back on yourself to get around all the blockages. Certainly not as easy as the last time we played at The Grove when it was possible to park directly outside the venue. Thirty minute turnaround between performers, whilst someone played on the other stage. No time for a proper sound check, set up, just one verse to make sure we could hear everything in the monitors and a couple of minutes to get changed and then we were on. Luckily there was nothing "miss" about this event. The venue was packed (that's not that difficult as it is really tiny) and it appeared that quite a few people had come specifically to see us play. Cue dancing, singing along to the songs and cheering in between. We even got our first proper encore. I'm a firm believer in both bands and the audience have to deserve an encore. None of this coming back on stage just because a couple of your mates have shouted "more". We were technically past the live music curfew but the sound engineer said do one more and so we did. Even sold some merch afterwards although at this sort of event you don't really expect to. Load out was much easier as the festival was over by the time we had everything packed up and we were able to leave by a much more direct route. As usual here's a couple of photos: Next gigs are on 10th July Supporting Miranda Sex Garden at Rough Trade in Nottingham, followed by Goths On A Field festival on Saturday 12th.

This is pretty much what I do on my one active bass. I tend to prefer passives but this approach works for me.

OK hold on... there seems to be some people waking up angry this morning for no reason.... vain seems to be being mentioned a lot....quit playing etc etc.... I'm the least vain person out there I wear prescription glasses for driving as its my longer vision that is slightly off, so that takes care of that. I can then see perfectly. Close up I'm absolutely fine, what I'm not fine with is tiny small pedal displays on my zoom ms60b+ which is the size of a normal boss pedal on a dark stage with awkward colour contrasts, and the angle it is shown. So I have the juxtaposition of the glasses would probably be fine for reading the pedal and set list, but absolutely awful for playing the bass, as it would look all out of perspective, ie a lot closer to me and larger than it actually is. The question is/was relating to what ideas/tricks/methods do people use when father time starts catching up. Ie larger screen displays, higher screens, audio cues, different straps.. .. Etc

The Maiden Years on Planet Rock from 9 til 10 am, can't wait til Saturday

Lots of people appear to think that the starting point for active controls is that they should be maxed out, and that seems to be why Stingrays for example have a reputation in some quarters as being ridiculously bright and trebley. They're only ridiculously bright if you turn the treble up to a ridiculous setting! You should always start with the controls centred and work slowly from there. In practice I usually end up with a slight bass boost, then on a 2 band eq I'll use the treble like a tone control to brighten/darken to suit the song. This often means my treble ends up below centre in a 'cut' poisition. If you have a 3 band then the Mid control is your "poke through the mix" control. Turn the mids up to be more prominent in the mix, turn them back to sit back inside it. Nothing wrong in changing that from song to song either. When I have a 3 band I do tend more to set the treble once and then leave it alone, and then the Mid becomes my 'tone' control instead. No point in making things unnecessarily complicated.

Is it the Programmable BDDI? I will admit to being ignorantly of the circuitry involved in the Sansamp BDDI, I will contact Tech 21 for more info. Some questions, when working normally, does the switch normally give a definite click when pushed? If not then they use some form or electronic switching. To stay true to their analogue circuitry, they are probably used IC based analogue switches. In the early days, these were frowned upon by the HiFi fraternity but they do allow simpler all along designs and the use of momentary switches rather than mechanically latched ones. This should improve reliability. I am based in the Conurbation (Poole), so happy to have a look at it.

I took the train from Manchester to Lancaster with a 4x12 cab once.

I tend to run no EQ on the amp so start with everything flat and adjust to taste for what I'm playing, with no preconceptions of how it "should" be set. It depends on the room, my mood and the song. I use as little as possible to get the sound I'm after and I'm as open to cutting frequencies as I am to boosting. I have a few 2-band EQs on basses, often I will cut both low and high to accentuate the mids. If the bass sounds great with everything flat, you win, just leave it alone. If it doesn't, then the EQ is there to help you win. In short, let your ears guide you to the sound you're after and don't think you need to boost the bejesus out of everything just because you can.

Show Me Seven - Maria McKey

Try the factory library settings. I have not tried the female singer one but when I sang through the CQ20 on Male Vocal setting, I sounded like a singer, surely a miracle. Of course you can tweak from the factory setting but it’s probably a good starting point.

Completely agree. I assume you were offended by what I had written. If that’s the case hope you can accept an apology. It was all meant in a friendly way. This is the good part of the forum after all…

I fly back from Spain the day before so back with a bang!

No affiliation but popped in my local crack converters yesterday and saw this. Seems a decent price and they also had an ABM 4x10 for about £70! Missing its volume knob and some of the others did seem like the needed re-attaching properly. Final note is they are advertising it as a 500 but it is in fact a 300. Could be a bargain for someone? https://cashgenerator.co.uk/products/ashdown-evo-ii-500-bass-magnifier-amp-head-500-watts-rms-1000-watts-peak-missing-output-knob

Yes, he is. I bought mine directly from him. A gentleman who has been working with boats earlier. He knows wood and fibers.

Start from the hi-Z (high impedance) sound. Then try to achieve the same with the preamp. If you love the hi-Z sound, you can tweak it with lo-Z (low impedance, "active") settings, like adding some more bass, or enhancing mids. Play with the settings! Mark King said in one magazine interview that he doesn't know what the adjustments do, he just turns them to the max. (Sure he knows, but the story was fun and a good reminder that do whatever you like.) Another reminder: If your amp or effects love one (hi-Z) or the other (lo-Z) output, use the one that works better. I have said it many times here that especially fuzz/OD/dist as well as some compressors work in a different way depending on the output impedance of the bass. Use your ears.

Seventy-Six Trombones - Meredith Wilson (from The Music Man)