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Yeh, when I joined my current band, the old band had lights and PA. This one had PA but no lights. The 3rd gig we did was an outdoor gig at an old farm house. In the dark. I bought some lights. What is so special about his amp that it needs to be miked up? can he not go straight into the desk with a di or something if he hasn't got anything particualr Yeh, some times its just nice to step back and enjoy something for what it is.

Sold a preamp pedal to Andy - super quick payer, no problems whatsoever. Great Basschatter 😊

I tried one today; unfortunately not the charcoal as it had been sold, but they had fiesta red in stock. Nice build quality, great sound, but the matte finish on the neck is not for me.

The 200w is pretty anaemic for a full metal outfit. I'd look towards 500-600watt total so neither amp or cabs are doing heavy lifting. If it were me I'd search for a nice 212, can always add the tens for very big stages.

That's me... I can sing in tune, but I just don't have the sort of voice that suits being a lead singer.

Fascinating, I didn't see these other offers, even when I looked into the D'addario store - there doesn't seem to be any single page presenting this stuff.

Well, the passive switch completely isolates the preamp from the output... So it's something else that's the cause.

I didn't share my approach, but I will now. I accept that my different basses will sound different - I tend NOT to compensate for this. My starting point is to set my amp (which has three-band e.q.) with Mid at 12 o'clock, treble and bass at about half-past 12, these small adjustments from straight up are barely audible. With volume low, I adjust gain so normal playing gives a pretty clean sound, but I can get an overdriven sound with modest digging in (easy to do with my Terror 500). I have a fair idea where it needs to be for my regular instruments. I then see how it sounds in the room at gig volume, with any PA support in place. I find room effects are usually either the room eats bottom end (lots of sound traps or soft surfaces) or exaggerates it (hard or resonant floors, hard walls) and adjust the bass control as necessary, some venues require a fairly hefty adjustment. If the PA issound is by someone who believes bass is all under 200Hz I may boost treble or mids to get a bit more presence. If I use effects, then I play with levels (only) to keep things balanced when they are switched in. Sometimes I will vary a bit. Last two gigs, the bass drum, has lacked a rounded bottom end, so I upped my bass control a bit to 'fill the gap'. I know someone who has made an art of doing this with a genuine early 60s P with ancient flats, and by playing locked to the kick he gets a really solid rhythm sound.

212 cabs are great, I've had several, but IMO splitting that up into a modular 2 x 112 rig makes more sense. You can use 1 or both and transport, stairs and living on the upper floors becomes much easier, especially when a cab can weigh as little as 10kg. Some 2 x 112 rigs can be much louder than large cabs, like 410's, 610's etc.

With the NS name and inlays I thought they were US made at first, and wondered why they didn't have the usual deep neck pocket. Makes sense now, they're more like the old Legend construction (I never played a Pulse). They look great and no need for inlay stickers! I'll have to try one out. The Frank Bello had Icon in the name too, is that how they're identifying the 'budget' range now?

I bought Paddy's Super 300 preamp pedal, yet another flawless bc transaction, great comms, lovely packaging, exactly as described, sound chap, deal with confidence.

Ditto 🙄

Rough cut body shape, glued fretboard onto neck - plus obligatory mockup

I can't believe it's eleven months since I've been able to get something together for the competition - just managed to rush something for this month. The photo reminds me of driving out into the countryside with my daughter at midnight to see if we could glimpse the Northern Lights and encountering a long line of cars parked up on a verge and lots of people gawping up into an orange sky... Only trouble is, the light was in the east! It was quote foggy, so probably a floodlit venue or industrial centre.🤣 In keeping with trying something different for every entry, I'm going spiritual and ethereal this time, and I present my first choir composition and arrangement, Aurora Caelestis. On the tech front, very simple this time: Cubase 14, Spitfire's Eric Whitacre choir and Steinberg's REVerence loaded with a church IR.

I get whatever tonal changes I want with technique and occasionally the tone control on the bass. I seldom touch the amp on the fly. I do adjust the amp at sound check because close to half the result is dictated by the room. I always go out onto the dance floor to hear what it sounds like there, and if there's an FOH I check it there as well. I never trust the sound man to get it right, unless said sound man is me.

Yeah, and it’s also the fact that we have to be self contained, with lights and PA. They are used to it all being supplied. I laughed when the lead guitarist said about mic’ing his toy amp up. I said im happy to let them use my PA, but now going to retract that offer. I don’t mind arguments if it gets things sorted, but this guy is very pushy and stubborn, so im going to let him have his way and just be a bass player from now on. This band isn’t worth stressing over, i had all this when i joined my main band and it was a very frustrating time, but most of us got through it. i can’t imagine this lot getting out of the living room so all this other stuff seems irrelevant anyway.

I noticed this mentioned here: https://www.reddit.com/r/GLGuitars/comments/1nla1iw/gl_shut_down_temporary_or_permanent/

I do this by changing pickup settings, finger position etc. and sometimes effects. Do you do this and 'set and forget your amp settings', or change them on the fly?