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  2. tayste_2000
    Put an output block at the end of your current chain for whatever output you’re using to amp or foh. Add a return block after it and then I mapped the control to the volume or blend of the return so I could quickly adjust it. Feel free to then add some compression and light room reverb to taste.
  3. Terry M.
    Hi Steve. No problem at all. To answer your question I don't think it's anything to worry about too much. What's interesting here is the TRBX you tried and the TRB have identical fretboard radius' (23 5/8"). The fact that you don't recall the fretboard feel on the RBX probably means you didn't have an issue what that aspect of the bass. If you can go and check out the TRB bear in mind it has a 35" scale neck. I've noticed on Yamaha.com that that it is now discontinued.
  4. Nick upson started following NBD - Alusonic - Thanks BassDirect
  5. Nick upson
    Had some potential redundancy on the way but turns out all is good so I went and had a look at this DarkRay today (which I had reserved previously) with the idea of trading a Sandberg and a Special. I have to say that I really liked it, looks amazing and is obviously a quality instrument but for the price it didn't blow me away vs the other StingRay specials that I have. I ended up trading my Sandberg for a used Alusonic (never heard of them before but it is something similar but also different) and still have one of my Specials. They had a Gold Bar DarkRay there as well which I have to say looks the absolute nuts. If I see a used Gold Bar or in the unlikely event a used bargain Grapes of Wrath I will likely pick it up. But for £3,600 I wasn't quite enough for me. I'm kind of gutted as I wanted to love it but the good news is I still have my Special and now a new brand to play around with. I very almost picked up another Musicman but with piezo pickups in the bridge but I am happy with the advice given by Bassdirect in relation to going Alusonic. They moved a bass on with £2k less of value than they were expecting to sell and were so cool about it, long term investment from them I think as I will definitely be back. The thing is so light, has a vast array of tones, a slick neck and some sort of graphite in the neck. Amazing instrument. https://www.bassdirect.co.uk/product/alusonic-django-standard-4-special-edition-high-gloss-metallic-purple-pre-owned-2/
  6. neepheid
    Is recording a separate use case for a bass amp?
  7. dmccombe7
    Not for me i'm afraid. Dave
  8. la bam
    It's no problem at all Its not a dig at anything, just a genuine question.... Just light hearted. If it works for you, then great. Why build a weaker powered version of something that works well, and produce something that may not (in certain circumstances)? Why build a practice amp that is too loud for a house, (I'm all for more power and a volume knob) but not suitable for the majority of gigs? Its properly also to do with the YouTube over enthusiastic rave about anything presenters as well who help shift these to people as amazingly loud gigging amps, who then find out that they need something else..
  9. Clarky
    Pm'd
  10. daveybass started following EBS Reidmar 750 (Inc Postage)
  11. neepheid
    Because there's no message being quoted in my previous post, you can rest assured it was not directed at you, but at the thread in general and I guess the OP in particular as the instigator of the thread. I'm at a loose end, filling in time before a gig tonight, my wife's away so I've got the house to myself and honestly, I think I've gone a bit peculiar. To be brutally honest, the whole tone of the OP's initial post (and subsequent same again, but longer post) just got up my nose, and it probably shouldn't have. So, sorry all and @la bam in particular. I clearly have got too much "me" time right at this very moment and I overanalysed things. My bad.
  12. tegs07
    One Hundred Years - The Cure
  13. la bam
    It's just a bit of healthy debate. My point being is that they're not designed for home practice, and not designed for gigging - so what is the purpose they were designed for? Im not knocking them, if you practice or gig with them fine, have another use for them etc, but neither of those could be described as what it was designed to do. Amps that you don't have to worry about running out of power and headroom were designed for gigging, amps that are comfortable at home volume and carry extra practicing tools are made for practice. A 200w version of a 500w head? I don't know what that is made for? Again, keep it light, it's a bit of debate
  14. Maude
    Sale of the Century - Sleeper
  15. kodiakblair
    Both were brand spanking new $2.6k walnut Rickenbacker 4003s some fella on Talkbass got last December. First photo was the one he received on the 9th, 2nd photo the replacement delivered on the 16th. I posted it in response to Michael's "It isn't a perfect bass like you'd expect from a US Fender either." Badly cut nuts and poor fret work are not exclusive to budget basses, you'll see both on any production line brand; even premium priced brands. I know those are Rics but Fender US can be just as bad; same for Gibson.
  16. javi_bassist
    I thought that I could, but I have not tried it. Should I plug the monitor send to the fx return?
  17. LawrenceH
    Not sure if that was directed at me or not, but I thought the whole point of a forum is to be able to voice opinions and discuss the reasons for our subjective preferences. Personally, I've found that in the gig circumstances where 200w is enough through 2x 10" drivers, then I can instead get away with just 1 driver if I push it using a 500w amp - remembering that at 8 ohms I'd only be getting about 130 Vs 300 watts based on typical amps on the market at those sizes. Plenty of good drivers nowadays will happily take 200 to 300w all day long so it makes sense to me to have amps that match that. For me, whatever solution gets me to gig volume for least size/weight is my preference. As mentioned by DGBass above, the likely reason why there is a plethora of 200w amps is, that's where the current technology is at in terms of cost sweet spot. Rather than it being the wattage the market 'demands'. With the previous generation of slightly larger and more expensive class D modules that spot appeared to be around 450-500 watts.
  18. HoorayForAnonyms started following Beigel Sound Labs Mu-FX Tru-Tron 3x Auto-Wah
  19. bass_dinger started following Retail therapy.
  20. bass_dinger
    Was it Woolworths?
  21. Alanbass
    Phil Jones Bighead Pro HA2 for sale. Bought from new from Bassdirect and had it about a year I think. Looking for £200 £180 £165. I'm based in Cambridge. Here is some detail about the unit plus a photo or two and a link to a Youtube video. Mobile High Performance Multi-Function Headphone Amplifier/Digital Audio Interface The HA-2 is the second model in the Bighead series and is a step up model of the popular HA-1 Bighead with added technology and features. The HA-2 is a high resolution USB audio interface that supports PCM playback with up to 384 KHz sample rate/24 bit resolution. On DSD playback, sample rates of 2.822MHzand 5.644 MHz are supported, making it the ideal choice for musicians and engineers that desire high performance and the purest sound quality. It is a rechargeable lithium ion dynamo that is ideal for use in practice or recording situations. It also functions as a headphone booster amp as well as a preamp to drive powered amplifiers. The HA-2 has both passive and active instrument inputs with a 2 band EQ that is ideal for guitar and bass, yet versatile enough for use with other instruments. It has an internal lithium-ion rechargeable battery that is fed by its USB jack, so any computer or appropriate cell phone charger can charge it in less than 3 hours, but it can play for up to 8 hours. Model: HA-2 Power Output: 300mW/ channel, Headphone Impedance: 16-64 OHMS Frequency Response: 10Hz-40KHz Controls: Master volume, input gain, treble/bass for instrument input signal, headphone jack, line out, AUX input, micro USB for battery charge and digital interface Power: Internal lithium-ion Rechargeable Battery or USB Power Dimension: 3” x 5.9” x 0.9” (WxDxH) Weight: 0.6lbs / 290 g Other: Includes soft bag, stereo signal cable, and micro usb cable
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  22. dudewheresmybass
    everything must go - Manics
  23. neepheid
    Well, each to their own. Personally I think the whole "too loud for home practice" thing is a false argument - amps have got volume controls. Until I got my Joyo 30W Vibe Cube, I was using my TC Electronic BH250 just fine for home practice - although mostly in headphones because I couldn't be arsed trotting out a cab. The only reason I got the Joyo was because it's more plug and play so I might practice at home a bit more (so far this seems to have borne fruit). I also don't really see why a 200W amp has to justify its existence to one particular person - the market as a whole will decide if it works or not. You buy one, or don't, and that's absolutely fine. There's a whole lot of IMO going on here, and while that's fine and dandy, it just gets argumentative in the end. You don't like/get them - fine, don't buy 'em. There are plenty folk who do. Like I said, I'm going to gig my 250W backup head tonight in a pub gig with no PA support and I'll report back as to how lacking or not it was, how does that sound? Does it even matter? I'm not you after all, I don't play in your venues or in your bands, so maybe I'm just wasting my time.
  24. Today
  25. LawrenceH started following Why weak wattage?
  26. LawrenceH
    I understand well enough the relationship between watts, speaker sensitivity and volume. But (for example) wattage doubling tends to be dismissed as 'only' 3 dB difference ignoring the fact that a few dB is usually the difference between keeping up or not in the type of venue where you rely on backline. Super small amps are great but if I have to add more speakers they've made a bigger problem than the one they solve. My very cheap ~800w Bugera Veyron is only a little bigger than a Trace Elf or similar, and only a couple of kg heavier. If I'm using modern long-throw drivers that can handle the wattage, then I can squeeze close to 6dB more out of them than at 200, with barely any extra packing space or weight compared to doing the same by doubling my speaker complement. In practice that means my 2 DIY 1x10" cabs made well over a decade ago have handled any gig I've thrown at them and I've always had that 'punch' you get from having a little headroom at the amp. My 500w F1 used to work ok but was occasionally at its limit, whereas 200w wouldn't reliably be enough. I also agree with @la bam that in practice, for whatever reason, turning volumes down on powerful setups doesn't usually have the same effect as using a smaller rig. But that might be as much a speaker thing. I wish I could find a good lightweight 8" driver (or even 6") optimised for high power handling, low resonant frequency, medium Q and low sensitivity. Something towards the old Acme B1 but even smaller and less sensitive.
  27. walshy
    Sweet
  28. eude
    I am popping this back up for sale, as I've decided I prefer headed basses, with a very skinny nut. The funds will go towards a headed fretless 6 string ACG to compliment my recently acquired ACG fretted 6er, therefore no trades please. Here we have an immaculate ACG Krell SC E Type, a stunning example of ACG's work. This is a 6 string, tuned B to C, headless, set-neck construction. The scale length is 31.5" and the playability is incredible, the low B is musical and lacks nothing compared to long scale basses. As you will see from the design at the "head end", the strings are held in with grub screws so you can use any strings you want, you are not tied to double ball end strings. This is probably the most beautiful bass I have ever owned, and probably ever will, but sadly needs must. Official listing on the ACG site here >> https://acguitars.co.uk/project/0288-krell-e-type-fretless-6-31-5/ Here's a video of some noodles >> Specs as follows >> Top Wood: Fractal Birch Body Core: White Limba, 55mm thick and Chambered Accent: Purpleheart Body Finish: Satin Lacquer Neck: 3-piece Purpleheart/Wenge with asymmetrical profile Fingerboard: Mac Ebony with Pearwood fretlines at 1/3/5etc Purpleheart in the rest and flat/zero radius Scale: 31.5″ Neck Finish: Satin Lacquer Pickups: ACG FB pickups (stacked sidewinder style humbuckers, wired in parallel, hand wound by Aaron Armstrong) Hardware: ETS tuning/Bridge unit, ACG Headpiece, Dunlop Dual Design Straplocks La Bella RX Nickel Strings (30-130) Pre-amp: ACG DFM 4K (This is the full fat flagship ACG filter preamp) Nut width: 54mm Bridge Spacing: 16.5mm The bass comes with a top of the range Fusion F1 guitar sized gigbag, also in mint condition and a perfect fit, these things retail over £200 and are comparible to the top of the range Mono bags The bass is in perfect condition, never been gigged, home use only. Price is £1900 ono, no trades please. I am selling a 6 string headless ACG in another ad, and I would be willing to do a deal on these as a pair. UK only, but will consider an EU based sale. Shipping, with insurance at buyer's expense. More photos here >> https://photos.app.goo.gl/Losr8JTh3kL6o4iHA I will sort out a proof of ownership photo ASAP. Cheers, Eude
  29. Staggering on
    Short freebie gig playing an intermission set with the 7 piece jazz band last night that turned into an important learning experience for me. One of our members who is a teacher had organized a day long workshop for several school choral groups and due to a cancellation asked if we could fill a slot in the evening program and it went well and we sounded very good. I planned to use my Yamaha SLB 200 and go straight into the Traynor SB 112 combo that I have used many times either by itself or as a monitor with a line out to a PA. When I had it set in place and turned it on nothing happened, it usually takes 2-3 seconds to come on and has never failed before so I checked all the cords and used different wall outlets and still no action. Luckily the school had a bass amp I could use and it all went fine. Now for what I learned. If your amp has been sitting in a car in a parking lot for seven or eight hours with the temperature around -15C it will take while to warm up and come to life. I had taken it straight in and it was still cold but after I changed to the other amp I tried it one more time and stood like an idiot wondering why I bothered and then after about 10 seconds lights came on and all was well, it just needed extra time for the current to warm up the components, who would have guessed? Edit: Yes, I tried it this morning after it had been in my house overnight and all is well, lesson learned.
  30. TimR
    It's called the "amateurs disease", to make something more exciting, just play it quicker. The alternative is to actually work out why it sounds dull. Some bands have sped up recordings but I suspect that's under controlled conditions while listening to it. I also played Livin' on a Prayer in a band with a drummer who would speed up. I used to spend most of the gig trying to hold him back. One gig I'd had enough and just went with him. By the end of the song the singer couldn't get the words in and was giving the drummer daggers, and the people on the dance floor were begining to give up one by one.
  31. la bam
    To clarify, I understand all the science behind everything, watts is power, not volume, more speakers, efficiency, ohms etc. I don't know anyone who is gigging a 100w class d amp. Or a 50w solid state a/b amp. The whole a 500w amp is only twice as loud as a 50w amp never works in real world. (again, I know watts is power). My point is I don't see what the middle ground serves..... They're too loud for home practice, so they haven't been designed for that, and as I've said imo on their own not really upto the majority of gigging, so they can't be designed for that, they're not far off but they run out of steam or get driven that hard it's not good for them, when the same chassis could carry a more power amp for hardly any more money to build. I would understand a middle ground that allowed you to gig with volume and headroom, and turn down for practice (my boss katana 210 even has a 1w switch), but these current span of middle ground don't do that. For example the Laney Digbeth, great heads, the 500w one. Not massively loud to be fair though. So...they bring out a 200w combo.... Makes no sense.... Just bring out a 500w combo! Ashdown have a million amps the same.... 100w 200w 300w class d combos.... Same with the rumbles... And all the copies... Now... The elf from trace I understand. Ground breaking, good sound, and can be used as a di or Di to foh, and you can fit it in your pocket.... But heads and combos the same or similar size as larger powered ones, that have to be really pushed just to do the job? I just don't get it. Maybe I'm missing something? What specific use would a 200w amp have over a 500w or 800w have? It can't be weight as even some 800w amps weigh in at 2kg now, and any speaker is going to be heavier than the head?
  32. Lozz196
    I remember back to my early years of gigging in the late 80s with a 150 watt 1x15 Laney Linebacker combo, which though pushed at times was always enough. Is the introduction of higher wattage amps to do with Class D something to do with this, with the sound not being “big” enough with amps of 150/200 watts? I’m not that good on the technical side of things so this a question rather than having a pop at today’s amps.
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