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@Phil StarrWe use in ear monitors which sound sooo different to the main PA sound, i.e. very toppy and they pick up every string click which can be a bit off-putting. However I'm more concerned with the front of house sound as I'm often told that the audience can't hear the bass very well so I will try your suggestions at the gig tonight.

I might be missing something here but what difference does the line make

Can automatically put a space in, at the moment I can see the template that puts the 'edited by' but not the bit that calls the template that puts the edited by there.

I did this, got a prompt reply asking my address and an envelope arrived a few days later containing the film. I also mentioned some suggestions I've made here about presets and a tutorial video showing recreation of a classic bass sound from scratch. The response to these was very positive. It is a nice luxury when you as a consumer can communicate directly with the design team on a product like this.

Heaven Knows I’m Miserable Now - The Smiths

Happy Jack - The Who

I just did it here, quoting a quote about quotes

I suggest also trying the patterns over a tonic-chord vamp. I’m playing the Cm version over a loop of the first four bars (all one Cm chord) of Footprints. Then you really hear the value of the patterns. So What would also be revealing.

The way it sticks to your lips In shades of toffee apple red It covers up the cracks and hides the chaps Puts a glamour on the things you've said. That staying power, last for hours when you're kissing me And you ignore the cancker paint that sculpts my masculinity To spare our blushes every brush stroke shimmer shines Removes the laughter creases Powdered confidence fills out the lines U Got the look On brand On trend once upon a time We’re water proof kiss proof bomb proof Sunken eyes are underlined The way it sticks to your lips In shades of toffee apple red It neatly glosses over all the past And the knowledge that you’re nearly dead.

No issues at all, Steve. Some people recommend changing the spring washers on the tuners for a smoother action, but I've been using monorail headless tuners for 35 years and never had any issues. The only thing I've had to change on any of the three Space Basses was the jack socket on the four string one I had, as it was crammed in against the power supply and would short out the bass, but that's a small job on any bass, and a component which can always fail. My only criticism on the Cort is that the Bartolini preamp needs a lot of bass frequency boosting. It's a seriously flat preamp as goes the bass control, but you only need add a tiny smidge of treble for clear and glassy highs. Apart from needing to boost the bass frequency a lot in order to gain some serious shove, there's nothing not to like. Output wise, they're like a passive Fender Jazz, so if you have a general "Jazz Setting" on your amp that you regularly use, there's no bother. More than anything, having owned three of them, I like the consistency. The quality is great and they always sound good. They're quick and easy to play, too. And the final bonus? They're light to carry around. Mine in the gig bag is often slung over my shoulder while walking around huge secondary schools. It's no effort to carry either, being so light.

Thank you for sharing that. Some interesting views. Personally, I'm not a fan of the EHB. The Hils I'm not keen on for looks but intrigued that you liked the sound, it's a headless I quite fancied trying out. I'd thought about a Hohner the Jack (I already have the headstock version) but want a 5 which for The Jack are very hard to come by. I do enjoy playing Slap which for an old boy of 70 with (only) nine arthritic fingers is a bit odd, I know. I believe the Cort slaps pretty well. And Frank Itt seems to slap the Sire M6 pretty well on the Bass the World review. Just not sure about those Tuners though, as Gregor is quick to point out! Speaking of which, any issues with the Cort you've encountered in the set-up or tuning department ? Thanks Steve

Yep, have iReal, will figure out a loop soon. For my ears it define helps having the chords playing to hear the new ideas in context.

Anybody listening to music in the 80's will remember the loudness control on their cheap hi-fi. The magic button that made our music come to life, they are still around often with exotic names like Psycho Acoustic boost. The loudness control worked because it exploited a couple of simple bits of human biology. The same bits of biology that make any bass amp or speaker with a mid scoop fly out of the sales room. It's the sound we all love practicing at home but which sounds s**t when we take it to a gig. So to understand it on the graph a couple of simple bits of physics and then some biology which will hopefully help people with their eq. So Physics first: sound pressure levels are measured in decibels and are a measure of the sound's energy, how much the air is moving, kind of. It's what is measured by a sound meter and we use it as a measure of sound volume but it isn't reall a measure of how loud something is. Loudness is measured in Phons. The Phons are only the same as the decibels at one frequency 1,000Hz which is right in the middle of the mid range, sort of. Sounds at low frequencies or very high frequencies just aren't as loud for us as at 1,000Hz but at 3,000Hz they sound even louder. If you want hou can play with this online Here To understand the graph look at the 80Phon line; at 1000Hz it is 80db. Run left to 100Hz and it is 90db. To sound the same volume you need an extra 10db which is 10x the power from your amp/speaker run up to 7kHz and it is again 90db to get the same volume. The graph kind of shows how you would have to set the graphic to get the same perceived volume at 80 phons. As a bassist though the thing to notice is that the settings at low sound levels are different to those at the highest levels. At the quietest you'd need 70db of boost to hear any 20Hz sound at all. At 100phon you'd hear it easily and only need 30db boost for it to be as loud as it is at 100hz. This is where biology comes in, our ears and brain work together to give the most useful sounds. it's a really clever and subtle system of signal enhancement with genuine survival value. There are lots of quiet bass sounds our body makes, the rumbling of our gut and the grinding of our bones as we move. Imagine moving around the savannah's with the sound of our last meal drowning out the sound of something that want's us to be it's next meal The sounds we hear best are the dip in the curve 2-5kHz which is vital for understanding speech and screams and cries. Loud bass we need, it means something exciting and dangerous is about to happen, a large animal, falling rocks or something powerful and dangerous. The reason we like a mid scoop becomes apparent. by having the mids lower it sounds like the bass and treble are louder and you get the illusion of your bass coming from a much louder amp. When you turn the amp up to gig volumes you need a lot less boost to bass and treble to get the sound you crave. Loud bass is exciting, an adrenaline rush. So finally we get to bass guitar. Average gig levels are around 100db (as measured on-stage at Glastonbury a few years ago). 80phon is more like pretty loud music in a domestic setting and for sake of argument I'll say close to practice levels. From the graph you'd need around 15db boost to get 100phon at 50Hz and at 80phon you'd need 20db of boost for the same effect. That's 5db difference in the bass between gig and practice levels compared to the mids. So to take your carefully set up tone for the gig you need to turn your bass down 5db at 50hz or the mids up by the same amount to maintain your tone. Given that the mid scoop is often around 5-6db you've pretty much always got to lose it before you play at gig levels. This isn't the only thing you have to contend with at gigs, room acoustics and the other band members come into the equation too but you have to expect to re-eq when you turn up the volume for a gig to balance your bass and midrange. You'd have to do it for the highs as well except that there is very little hf coming out of your pickups. Cymbals through a powerful PA though......definitely the wrong sort of adrenaline!

Ibby SR300... I have a few... Don't odds it and go for a GSR200... I have 2. Or if ya in to ya traditional a Squier P.

What I didn’t realise at first is that the bass has cream pickup covers. Excellent ! Check out the Empire Music video at 17.18 onwards.😎 I wonder if the pickguard is removable and has no nasty routing underneath ? Now that would be classy !