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Anyone received the BigMuff 2 yet? Can you give us a quick review?

Maybe the HD thing was not a good analogy. As I said in my original post, I know nothing about motorbikes, so I defer to your obviously superior knowledge. Mea culpa. That notwithstanding, this is still a great rig for a very good price.

Have a look too in the for sale section on here 👍

Thanks. Yes I was having a look at the Markbass cabs. They are a bit out of my current bass gear budget sadly, though will still keep them in mind if I can find the extra ££. I will certainly take another look at the Fender Rumble gear. 😎

Can we get a quick review of the Big Muff 2. I'm still waiting for mine here in the UK.

Thanks for that. I guess that if they knew there was an issue with the old tweeters then the replacements would be in the new cabs!

Well there you go, that perfectly demonstrates 'One man's meat...'! LOL I keep the finger nails on my right/picking hand at a length whereby I can use them to affect the sound but not so long that I can't change my position and use the flesh. Sometimes I also play the string below the one I am playing almost percussively with Ghost notes (I'd never analysed or even thought about it till someone asked me how I do it), a DB technique in a way; some tutors would find this an anathema to 'proper' bass playing but it works for me.

We bought my daughter a HB copy of a PRS guitar last year and its great. She was loaned a budget PRS (double the price of the HB) for a few months and preferred the HB. The only issue with it was the neck was really dry when it arrived but a couple applications of lemon oil and it was sorted.

Thanks. I have reached the stage in life when I have realised it is better to actualy get the facts rather than guess. I now have the facts.

You may have an idea of how you sound, but a looper is very good tool to reveal details from your playing. Instant playback, cheap units are really cheap.

Would it be worth trying the SVT models in the Stomp before committing to buying more hardware? Especially if you're not going to be gigging it.

I read somewhere that JT learned “chucking” from Bernard Edward’s and that this technique uses the nail to get a pick like sound?

The only one I’ve found that let you do stuff like binding parameters to input levels or oscillating waves was the MOD Dwarf. The Dwarf was way deeper in what it allowed but with a significantly steeper learning curve. The Dwarf also allowed you to do crazy stuff with its CV system allowing to set random value generators and stuff like that.

I came to say the same thing. If I want something smoother but uninspired I go with my Jazz bass, if punchy but uninspired I go with the P-Bass

Having recently bought my Dingwall John Taylor bass (and not really having a gig for it) I've started to learn my 80s duo stuff but on the bass. It would be fun to swap between guitar and bass on some gigs ( the bass line on Rio is particularly good) I've decided that I should do some of this stuff more authentically and play using fingers and not always with a pick The guy in my 80s band is a music teacher and awesome bass player and he's putting together a short video of how he plays with fingers stuff like how to keep the volume the same between different fingers Also he says to keep the nails on your plucking hand short so they don't pick the string Anyone else got any more tips for me on this, (keeping the nails short is a great tip)

It's probably worth knowing that Celestion measure their Xmax differently to most other manufacturers so the 'true' level of excursion for comparison with other brands will be something comfortably above the 4mm they quote. Xmax isn't a hard limit, the speaker will go on producing an output without endangering itself beyond Xmax. The magnetic field extends beyond the magnet but weakens as you get further from the magnet. For the speaker this mens that the speaker begins to struggle to follow the signal accurately and it starts to distort. Xmax is an attempt to put a number on the linear part of the speaker's output. At the frequencies we are talking about, below 100Hz, you probably wouldn't notice 10% distortion. The old fashioned and harshest way of measuring Xmax is just to measure the voice coil and magnet gap; 16mm and 8mm in the case of this Celestion. That leaves 8mm of movement with the coil inside the complete 8mm gap and Xmax of 4mm each way. The other ways of quoting Xmax are to measure it at a specified distortion (often 10%) or to do a 'predicted' Xmax based upon the speaker's geometry, adding a bit of extra Xmax to allow for the extra bit of magnetic field beyond the gap. Both these figures will add excursion and to be fair will reflect real world behaviour. You can guess that marketing prefer a bigger figure. 18-Sound don't have details of how their Xmax is measured on the data sheet but I supect it is calculated with a bit extra and more generously rated than Celestions.

The Less I Know The Better - Tame Impala