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We’re an established 80s/90s cover band with a 25-song setlist and a passion for everything from U2 to Pulp, REM to Republica, and The Smiths to Simple Minds. We’re tight, nearly gig-ready, and just one bass legend away from being complete. What we’re looking for: A skilled bass player who can lock in with the drums and make the crowd move. Someone who knows their way around a fretboard and a punchline. A team player who loves the music and the madness of live performance. What you’ll get: A solid setlist packed with bangers. Gigs with a great bunch of musicians who don’t take themselves too seriously. A chance to relive the golden era of indie, new wave, and Britpop Check us out at https://kiernander.co.uk and drop us a line if you’re ready to bring the bass and the banter.

It's a Mesa thing. I've searched and searched and can't find it but there was an article or some written explanation by Randall Smith about why they did it that way. It used to annoy me when I gigged my 400+, Carbine M9 and Walkabout. The explanation made sense from a tone point of view but was in practice, nothing but an inconvenience. I ended up using a DI and that just killed the whole point of having the Mesa as a gigging amp. Only the band could hear it. I still love Mesa amps, though but it'll be a GK Fusion 550 behind me on Friday evening.

Platinum - Mike Oldfield

What on earth for? You just adjust correctly, then tighten the locking screw!

Today I got a response from them: "Hey Roger, Thank you for checking in and I hope you are well. After some testing we have verified that the Luminal block is working and there is no bug causing a malfunction. If you would like an aggressive compression with the FET compressor and especially if you are using a potentially low output bass, an additional boost with a Gain block or another one of preference might be needed before the compressor, in addition to turning up the Input control setting. Can you please verify if that is the case?" Well, I ain't that pleased with the answer. The BUS Compressor works fine in comparison, but the need of an extra gain stage, stealing place in the signal chain, just to bump up the signal so the input in the Hyper Luminal will work well feels a bit unnecessary. They could trim the input gain control on the compressor block and save some space. I got an answer. Or - we all got an answer, since it wasn't me who brought up the matter in the first place. And - I don't want an aggressive compression; I want compression. I think I'll stick to the BUS Compressor; it makes what I want it to do...

Thanks Dave...I think you called it some time back but I was genuinely surprised when they asked me to join. As for the Barefaced gear, the 10's really suit the numbers we play in this band and I'm sure you can imagine an eb3 through them (may not be everyones cup of tea but I love it) I play a Squier pj mainly in my originals band with a Jive pedal. A different sound altogether and something I'm still getting used to.

It was a Saturday night - I guess that makes it all right?

it’s changed again

Small world, eh? 🙂

Hello from the diagonally opposite edge of the Peak District!

After all that I've just been given a spare Designacable speaker lead, so no need to solder my own after all.

Something really special this evening.... https://bilbosbassbites.co.uk/prepare-to-be-finger-funked-danny-sapko/

That's exactly what I needed to hear, thank you - the bass I had custom made was largely because I do 4 hour wedding sets a few times a week and the Musicman and Sandberg were starting to take their toll on my back and shoulders. I think the green is going to be the one.