All Activity

There may only be a problem cutting the strings first if they are round core. If they are hex core you can cut them to length before installing them as normal. It's poor advice on the part of Newtone. I've taken this point up with them previously and they really don't seem to be bothered about addressing it correctly on their packaging. All my Newtone strings are hex core so I just cut them to length and fit them. If you have bought round core strings they will recommend that you put a 90° bend it them where they go into the machine head post hole and then cut off the excess.

I've used loads (and loads) of amps over the years and once you get above a 300 (genuine) watt rating, with a reasonable speaker array (210, 112 or 115... heck some good 110 cabs will cut it) you generally have enough power to be heard over an enthusiastic drummer; especially in a rehearsal room. However, what the guitarist(s) are doing, your EQ, room size/shape, cab positioning, drummer location etc can all affect how well you'll be heard. As others have said, you all need to be looking at ear protection, especially in small rehearsal spaces where you are playing with a drummer (cymbals destroy bass players ears). Get everyone else to turn down would be my starting point; the drummer playing at their comfortable level should be the loudest thing in the band, if you are drowning any of the drums out you are too loud... says the man who has been in many pitched battles with overly loud bandmates! LOL Oh and I had reason to use a Rumble 500 combo at a rehearsal room the other week and it was seriously loud when it was barely ticking over, so I don't think the gear is at fault unless it is set up incorrectly!

I did own one. It was the 2nd of 4 6ers I have owned as I tried to get my head around them (see also fretless basses). It did everything right, but there is no denying it was a weighty piece of kit. Having said that, my present Overwater 6 is also weighty. So that is probably a 6 thing rather than a HB thing.

Then at the compositional stage limit yourself to a set of standard sounds. Worry about getting those right only when you finalising the arrangement or doing actual recording. Just because a device offers you a multitude of options doesn't mean you need to use them all. Stick with the ones that do what you want. As I have said in other threads about composition and recording, is that for me at least these are two very different functions with almost zero overlap. Also when I'm writing, I'm writing for whichever band I'm currently in which will have a specific sound. Therefore I already know what sorts of sounds I'm going to want before I even start.

+1 Also a Rumble 800 combo user and I don't ever recall not being loud enough for any gigs. I also have a Rumble 800HD driving one or two BF Super Compact 12s and again never suffering any lack of power. Check out the advice from @Phil Starr and try to involve the whole band in a reassessment of your sound stage. One point to check is the external speaker impedance switch, and follow the manual for the correct settings. I support the advice from others that a 2x10 extension cab would be the best way forward to access the full 800 watts, more importantly the extra speaker area will give you a step up in overall sound output.

Somehow this has 8.4kv* *kiloviews.

that aint no fender

Is that the width of the nut or the distance between the centres of the two E strings? The nut width on my Squier VM Bass VI is 41mm but the distance between the centres of the two E strings is only 35mm which puts the strings much too close together, and even more so when you consider that they are much thicker than guitar strings. For me this second measurement is the important one. Overall nut width tells you nothing about the string spacing. Compare this with the Eastwood Hooky which has a nut width of 50mm and 42mm between the centres of the E strings and is consequently much more playable (for me). As has been said shimming the neck is required to get a decent string break angle over the bridge. The increased downward pressure of the strings on the bridge by changing the break angle also goes along way towards stoping the bridge from wobbling around without needing to fit inserts. Wobbly bridges are fine on Jaguars and Jazzmasters if you want to do MBV impressions, but IMO have no place on a Bass VI. Plus once you've replaced the E and A with something more suited for playing bass, the vibrato mechanism goes from extremely subtle to almost inoperative.

Me too! The Rosegold one..

Father Cannot Yell — Can

In other words hes saying the dancing girls aren't going to hurt

I’m very tempted by one of these!

Yes, a lot of the time it will just tell you what year it is

I'm loving the Key 37. Bonus is it looks like my old plugins that I got when I had an MPC One, then a Key 61 are still usable. I thought I'd lose the license when selling the hardware. I think the keybed and the sounds of things like Organ, EP and Piano are better than my Yamaha CK61. And then of course there are the synth, drum machine, sampler, sequencer, effects etc. All in a size I can easily take to gigs for those occasional times it's needed and it sits conveniently on my desk next to my laptop for breaks from home working. There is a good sale on for Plugins at the moment. e.g. Keys collection is £49 reduced from £249.

Personally, I think the new MPCs are excellent as they have so many options, after all - they are marketed primarily as a 'standalone production centre'. I understand the feeling of option paralysis, but that is like saying old Nokia phones are better than smartphones. That is true in some ways - but not enough ways for most people as you can just be selective with the smartphone features you use.

Hollaback Girl - Gwen Stefani

Agreed. My A4 had a small ring system and several small moons.

I have played about three notes on it, but it's certainly slimmer neck compared to the Godin. I'll report back further once it's back from fettling.

what's your input stage built on? Most the things I've played with have high enough input impedance that you can then set it with resistors - though I love the sound of Jfets! I would tend to use active DI for passive instruments for the impedance issue, or passive for active or after anything that is buffering. I think you've reached an inflection point with your design - is it a DI box or is it a preamp? If it's a DI box then phantom power is great. If not, it's a bass preamp and focus on 9v power. what in your design is crackling and popping after you turn it on? Thats a risk and something I would think you want to engineer out. I could live with it in a preamp if it sounded amazing, but in a DI box attached to the PA it just needs to work!