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Many years ago I played with a very good guitarist. He did a lot of recording and West End theatre work, and got every tone of every guitarist at very sensible volume levels. He was using pedals and his amp properly. It was a treat playing with him.

2 guitarists is one too many, 3 is madness. I do occasional gigs with a cover band and I've told them that they are too loud and play the songs too fast. . . . it's water off a duck's back!! I bought 26dB filters for the very loud guitarist I play with and find I'm wearing them for most gigs these days. Volumes are definitely going up, across the board. I guess it's in proportion to how deaf everyone is getting.

And guitarists wonder why people think they are egocentric.

It’s a big beast; comically large. Can’t realistically get this on my Aclam board Knobs aren’t bolted to the case, which is disappointing, but I suspected might be the case, given the price. Sounds nice though. Seems to be a fair amount of top end roll-off compared to the Black Pearl (another MF-103 clone); the Wombtone has much more high-end clarity. Not sure whether I’ll keep it, mainly due to the knobs and the size.

I constantly asked for separate vocal rehearsals with just an acoustic guitar. But was met with resistance, or guitarists turning up with full kit. 🙄

That and and overdrive would have been nice.

This one is ‘almost’ within my budget for an early 60’s P - apart from the infilled body it looks OK to my untrained eye - what does the team think? https://www.vintageandmodernguitars.co.uk/product/1960-fender-precision-bass-olympic-white-copy/

True, but you don't even need to go digital. Modern multi gain stage amps can give virtually any sound you want at any volume. If you desire speaker distortion, rather than amp distortion, use a lower power cab and cane it.

At least for rehearsal, we used to do most of ours without a mic for the vocalist.

I left my last band (which I put together) due to excessive volume from both guitarists and keys player at rehearsals and gigs. Since leaving, the lead guitarist has taken to using 2 amps (AC30 and a similar) and got the other guitarist an extension cab. The keys player an additional Lesley. Lead guitarist refuses modelling as it’s “not authentic”. It just became a cycle of ever increasing levels as they compete with each other to be heard. The bvs can’t hear themselves in rehearsal but that didn’t seem to bother anyone. 😡

9AM start for me yesterday to pick up the guitarist and a bunch of gear, then a long drive through constant traffic to Blackpool. A bunch of jobsworth's checking the gear at the load in bay which is unusual for Rebellion. One lad stopped me "I need to put a tag on your hardware case" What's the point of that? "It's a security measure, it shows that it's been searched" Do you want to search it then? "No, I trust you, you don't have any drugs in there do you?" No mate, the drugs are in my other bag 🤷‍♂️ Then the stairs. So many stairs. All the way up to the Opera House to play our first set. It's such a massive stage and they barely even line checked us. The sound on stage was abysmal. They had the guitarists' amp modeller clipping so it was just a horrible fizzy mush. We struggled through but seemed to go down really well. I've seen some footage since and the sound was fine FOH so they must have had separate feeds on the guitar. Very reassuring! After that were more stairs up to the Almost Acoustic stage. So many stairs. For this "acoustic" stage, the only hard and fast rule is "no bass drums". I'm sure I've posted on here about this before but my work around is to put a mic in a tupperware tub and hit it with a standard kick pedal. It's so weird that they're prefer to plug in this contraption than mic up an acoustic bass drum, but it is what it is, and we've done it loads of times before, so we cracked on. This room is a nightmare for sound. A very distinct slap back echo on everything. It's OK when I'm in charge of the groove but when the guitarist is on his own it can put him off. Anyway, once again, we seemed to go down really well Lots of new fans, sold loads of merch, and had a good laugh. So many stairs on the way out. Then the lift was broken at the carpark. I was on the top floor. My legs would like a rest now Ace to see @Leonard Smalls sounding tight AF, trousers in full effect!

True, but often the 2-band instruments sound better than the 3/4 band ones. Definitely worth a look, I'd say.

I'd prefer 22 in a perfect world, but 21 is still absolutely do-able, the rest of the options more than make up for it. Thank you for the update and correction.

When I first started the thing I learnt that helped make sense was to look at the bolt head on so you're looking directly at the front of the bolt face. Then it's righty tighty and lucy lefty. Worked for me anyway but everyone remembers and learns differently :)

I've had a few different EBMM SR5s and always preferred the ceramic era pickups over the alnico ones. My Warwick Thumb and Streamer have MEC pickups that use ceramic magnets and to me they're absolute tone monsters especially the Thumb. Bartolini US pickups use pretty much ceramic magnets exclusively.The famous MFD pickups in Leo's G&L L-series use them also. I guess I'm curious as to why ceramic generally gets a "lesser" reputation on the market over other alternatives?

Thanks mate, I have started fiddling with pedals around probably early 2010 so that board is the result of years of trying and going thru a lot of different ones. I am not that crazy with flipping stuff compared to others tho. The core part of the board, mainly the Noble, Stomp and the 3leafs have been with me since 2018. The Cali is a recent re acquisition but have been using one about the same time as the Noble. Cost wise, most of the pricy ones I got before they got ridicously expensive so not as terrible compared to if you are buying today.

Gigged this at the weekend in our 80s band. Great tone, versitile, fitted in the mix lovely, punchy and absolutely no aching or back pain afterwards. Great basses.