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You're all good here, folks - everyone has an opinion so as long as we all treat each other with respect and realise that not everyone has the same experience, what's the problem?

Yes, the mix can be pre-armed so it activates in that mode.

I do not manufacture or sell speakers, or represent in any way any entity that does. I'm an acoustical engineer, so any comments I may make come purely from an engineering standpoint. I don't have a dog in this fight, but that doesn't mean I can't point out if one or more of them have a decided limp.

When I was in The Beatles it always used to annoy me that the bass player insisted on doing this silly little backwards kick with his left foot when he bowed (see above). He wasn't a bad singer but after one gig we had a huge row about his foot so I left the band. Losers.

Intersteing interview with Kim Ryrie and Peter Vogel founders of Fairlight Instruments, talking about the development of the Fairlight CMI and other projects they have been involved with. Over 90 minutes long but well worth the time to listen (you don't really need to watch the video, it's all static headshots).

But yellow is this years black

Here's my headpiece solution. Drill stops with some longer screws. And a little something walnut to pretty up the output jack And after a day of sanding, finishing has begun. First coat of oil is on

Here is HJ and the MarkAudio systems in action.

Ibanez BTB 775PB here

Although you have the rig wired Amp - Cab - Cab that is still a parallel arrangement. It makes no difference if you wired both back to the amp and used the speakon and jack, the result is exactly the same and a potentially damaging load on the amp. I would just use the 4 Ohm cab until yo decide a way forward. If you want to run 2 2 x 10's, you need to sell the 4 Ohm and replace it with another 8 Ohm. A friend of mine tried a couple of EA cabs on his Mark Bass amp not knowing they were actually 6 Ohm impedance and thus 3 Ohms when in parallel. It was a costly mistake.

FRFR then?

Oh I don't know, I always found that one easy. Certainly no harder than the verse of all right now

Sounds like Jamerson to me, but Carol can get funky. Here she is with Joe Pass on guitar!

You can't trust them. They'll obviously do this again at some point, as they've shown what their philosophy regarding band etiquette is Announce on Farcebook a week before the gig that you forgot you were having your eyebrows plucked on that date

Well I took a chance and bought it!!,£400 picking it up tonight,hopefully it’s not too bad,

Hey all.... @Cuzzie @FacStudio @ShaunB @NancyJohnson @cetera @fretmeister @dannybuoy @Sean Aside from Tech21 claiming they are “shipping soon” I’ve had confirmation these are due in U.K. in April. Exciting news! with these numbers so far I would suggest we can knock our basschat price from £270 RRP down to £240 delivered to you. If more add to the list we can maybe do better. I’ll do the preorders at the end of the month so it’s nearer payday for everyone... if you could email me your details to [email protected] I’ll send you a PayPal invoice with my details. BOOM!

I use my singing skills as a cruel negotiating weapon . the lads in the band won't let me sing as they reckon it is totally stinky poo and don't mind telling me . So when I hear some of the notes coming from the singer's (rhythm-ish) guitar, I keep letting him know his technique is lacking , he generally gets the hump and swears blind he is doing his best. When he is at critical mass, I suggest that I bring a microphone to the next gig and 'do my best' he gets the message 😂

Or sweets, like a reverse pinata...make sure you've gobbed on them all first, though. The sweets, not the band. Possibly.

Best bass for a flounce-smash? Probably a standard-scale hollowbody with no centre block. In advance, fill it with confetti for that extra touch of class.

I left a band once after a blazing row at the rehearsal rooms in the coffee machine area, stormed off back into the room, packed my kit...and then had to go back and ask for a hand getting my Ampeg 810 up the stairs and into my car. This is why lightweight cabs are the way forward...Flouncing Ability is an often-overlooked plus point...

You could run the 2 amps, putting the 4 ohm cab on the LM250. You could even take the fx send from the LMIII to the LM250 (maybe straight into the fx return on it).

Yes! Maybe an Ampeg logo would look better?

If you email Adrian he usually replies pretty quickly. I'm certain he'd help any way he could.

A 4 ohm and an 8 ohm cab together in parallel will produce 2.67 ohms resistance. The LM3 has a minimum output impedance of 4 ohms, so surprised the protection cicuitry hasn't kicked in. The other thing is that as you are saying it "works", the 4ohm cab will have twice the output of the 8 ohm cab.

Nitro, poly, it's all in a day's work to a rough cloth.

I think that these are the first photos of the back we've seen. Looks nice already...can't wait to see what it looks like with it's coat on

I never used to use effects until I discovered the Sansamp VT Tech 21. I now have a few that I use and my is VT pedal is usually left it on all the time. Very occasionally in a couple of venues it sounded better without it, I guess it depends on the room. Normally it improved my tone immensely. I also used it in the studio as a whole rig. Definitely easier getting it up the stairs than my Ampeg Portaflex all valve job!

5* I purchased a nice Fender Jazz Bass from Peter yesterday. He received it in fairly bad nick and went through considerable effort to have it refurbished. Clear communication; very honest and comprehensive from start to finish. We met in person and he was friendly and accommodating. Zero issues with the transaction. Very happy with my purchase. Thanks Peter. 👍👍👍

@Manton Customs The most important in here is this simple question : Are your clients happy with their basses ? That's all ! And I like your work, that said.

I've used Newtones for years and found them to be consistent, great sounding and excellent value for money. I've fallen away from them in the last 3-4 years as I've started using Flat and Tapewounds a lot more, unfortunately Newtone only make Rounds. I wouldn't hesitate in using their Rounds again, however. Without wanting to derail from Newtone, it's worth noting that La Bella publishes a string guide that might be helpful with regards to wound length of their strings: http://www.labella.com/wp-content/uploads/2016/03/La-Bella-Strings-Bass-Scale-Guide.pdf Cheers Si

yeah I do that for our guitarist, admits he can't sing but doesn't stop him trying, at a gig recently I kept turning him down all to no avail, still too loud, at half time I found out we'd mixed up the the usual inputs on the mixer, I'd been turning myself down

I have the Motown DI, it's great and I use it daily, I'm permanently plugged into it in fact but it doesn't do what you think it's going to do. It's not a magic Motown switch. You're welcome to try it if you're ever down this way (Shortlands). With a P, flats, a bit of tape saturation (which is where the Tone Hammer may be useful) and a one finger technique it does get you closer to that sound, but the DI is just a small step towards it, and you could easily get a respectable Motown tone without it. Honestly, any P with the tone rolled off a bit and plugged in direct will get you there, and I've gotten closer to it by watching Jamersons hand position and technique than by trying to find the right pedal or effect.

Haha one step at a time dude! Get your right working nice and steady, playing open strings, then work into your fretting patterns. Working in groups of four, one finger per fret, was where I started with that, just trying to get everything consistent. When it does your head in, have a five minute breather and try again. A little brain rest does wonders while you're practicing, information overload is a real thing!

I missed his performances, do you care to share said settings at all?

I found the Bassics BPA-1 not to be my cup of tea so I sold it. Now I have three pedalboards, one small "non-effect board", my medium big and my super big under build. Here is my Metro 24 with just a Polytune, a Diamond Bass Comp and a Two Notes LeBass: perfect for rock stuff. I found the LeBass a bit hard to tweak at first, but now I've nailed it. The Novo 32 with my Goliath Preamp/DI and some pedals, also the very nice FMR Audio A.R.C. compressor, also boost and DI on this one. There is space for my Relay G50 too, when I want to mount it. The Goliath gives a nice break-up when digging in; otherwise it is very, very pleasant... My big gig board isn't ready yet...

He's behind you Jeff! Yes. That made me smile when I learned about it.

I agree with all said above, but the flip side was that I was after a modern bright sounding p/j bass, so it completely worked for me. It might be worth adding that the both pick ups on these are placed quite far back and close togeather. I believe that is why you may struggle to get a more vintage type sound from it without flats or semis. It is an agressive bright sounding thing thats built like a tank too. Not finished exceptionally, but it has a look which is cool.

...or rabbit tods - for a 'dirty protest' feel.

There was certainly a fair bit of drive in those bass sounds though. I'm a big fan of the Aguilar Tonehammer for replicating that with modern equipment!

Grrrrrrr! Its the Lane Theatre in Newquay mate, not exactly local, but a great venue and people. We did the gig for a local Parkinsons disease charity, the guitarists dad is a sufferer and lives down that way, his dad was there and it was the 1st time he had ever seem his son on stage..was quite a night and we raised nearly a grand! Not bad for a 140 seater venue!!

I got a Digitech FS3X three button footswitch. It works perfectly out of the box with my TCE amp, as well as my obscure Johnson guitar amp. I believe it can be used with TCE’s Nova System as well. About twenty five quid. It operates the mute switch and either TonePrint.

Yes there's a difference, but to my ears it is so slight that its pretty much irrelevant although, it is a bit more pronounced on the slap sounds. And in the context of a band mix (which is where it really counts) I doubt anyone would be able to tell the two apart on any of the playing styles. And then there is the problem with the methodology of your test. 1. There are just two many variables in the construction of solid electric instruments. Every bit of wood is different. Even if the woods used in both instruments are the same species for each part, there will be differences between them, and that's before we even think about the differences in where and how they are joined. And what about the electronic components? Unless you are specifying very close tolerance items there will be at best a ±10% tolerance for every single component in the signal chain. How similar are the pickups in terms of resistance? Did you even measure them? 2. Then there's a sample size. I'm sorry but two instruments simply isn't enough. If you had 100 identical instruments (or as close as possible given point 1), 50 with Rosewood boards and 50 with ebony boards and you got constant difference between the two types and the overlap in between each type was negligible (i.e. the darkest of the brighter sounding wood was still brighter than the brightest of the darker sounding wood) then I might be able to start taking this tone wood stuff seriously when it comes to solid electric instruments. 3. And finally there is tester's bias. I'm sure you didn't mean to do it, but unless you were blindfolded and didn't know which bass was which, there will have been some variation in your playing style as you unconsciously tried to bring out the sonic characteristics you were expecting form each bass. And all this is why I think that trying to isolate the sonic characteristics imparted to a solid electric instrument by a single component is a fools errand. There are two many other variables that can't be ignored. And then you need to address the sample size of the tested instruments and get a consistency of result, for any of this to have any proper meaning. To me each instrument is the sum of all its various parts and you can break it down and sign a single characteristic to a single one of any of those parts. I treat each bass (or guitar) as a whole. And either as a whole it works or doesn't for me. And TBH from my PoV unless there is something very wrong with the instrument it will be possible to get a good usable sound out of it with a slight modification of my playing technique and EQ and effects settings that will result in a suitable bass sound for whatever song I am playing. BTW I didn't vote, because there wasn't an option for I could tell a difference between the examples but it didn't matter which was which, and I'd pick the bass that looked the best to me.

No plans to add to it.

It was this demo that made me pick the Clean and Clear

Man, that looks like a whole world of fun in there!!!!!