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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...

I've just had to ask Mrs. WoT to confirm that she can see this too, as I was convinced I was hallucinating.

Best ask Marco de Virgiliis ... I'm sure I have his phone number somewhere. Personally I don't get hung up on numbers. I tend to rate cabs as being Too Quiet, Quiet, Loud, Bloody Loud, and WTF Do You Think You're Playing At You Pilloch.

DJ Khaled.

When Doves Cry - Prince * Yeah I know, its that time again

It was 45 yrs ago so think i'm safe now. Dave

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

To me, both the Stagg and the Harley look to be quite similar. If it was a choice just between those two, then I personally would say the Stagg - purely because I've not tried a Harley Harley Benton get some good reviews on quality of their bass guitars though - so the Harley upright might well be really good.... I'm guessing that if you bought either 2nd hand, there wouldn't be too much in it, and you wouldn't lose much if you decided either wasn't for you. If you can try either before buying, then I would recommend doing just that. But also, keep a look out for other instruments, in the marketplace here

How much a a difference in position is it? How about a compromise - place the pickup in between the 60s and 70s positions? It could unleash a whole new world of tone... or leave you wondering if it actually makes much difference at all!

Since the upgrade I notice my attached pics got lost Time to rectify that and show off my USA Sterling 4HH with matching headstock

I would have thought that, having agreed a position with you, they would have discussed any changes with you beforehand rather than just going ahead with them. That's the fair thing to do. Sounds to me like you've being very (over?) accommodating to them and they're taking you for granted as a result.

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

Same story in all retail/high street. Some customers understand the value added by having a physical store, choice, service, convenience, advice, back-up etc. Some customers think a shop is a free showroom for Amazon. A friend of mine has recently closed his bike shop, open for three generations. Couldn't make it pay. One customer typified it for him. Came in, asked about locks, had the full range demonstrated to him. Said he would think about one that was £20. Came back into the shop a few days later with the same lock and asked my friend to fit it. Cost him £15 on Amazon. My friend said "no problem" that will be £5. Punter says"you must be joking. You've just lost a customer" the irony was wasted on him. Use it or lose it.

Aaaaargh! OCD alert ...

What WERE you watching on telly?

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.

A couple of points: sight reading is a different (but related) skill to reading music. Sight reading is only really necessary the first few runs through of a piece and being good at sight reading means you save time - a LOT of time - in the initial phase. BUT orchestras don't perform music sight reading. They have the parts in advance; practise them, rehearse together then perform it. If you're reading something the 2nd or subsequent time, its not sight reading. Its only really advanced or professional orchestras where the amount of actual time rehearsing would become minimised (so they're more reliant on their reading ability, than falling back to the progress they would have made during many rehearsals), a subset of the many amateur orchestras and various groups etc which do typically read music. Also one of the main reasons why these kinds of groups read music is that its more complicated - rock/pop songs are typically a simple structure with repeating elements, a classical piece can be fairly unique from start to finish. So caution is required in drawing comparisons anyway. Secondly, for a beginner player, reading music is such an advantage because it probably means they'll save time in getting the right notes, and a good deal of the "emotion" or interpretation right first time, due to the dynamics, phrasing etc markings on the music in addition to the pitch and rhythm stuff. A similarly beginning player who has spent the time so far, improving their ear training (rather than learning to read music) would probably still get some of the pitches wrong - AND have spent more time in trying to learn by ear, thus having less time to improve it or apply "emotions"/etc

Thank you sir !! Not sure about that one but I did play a 5 string sukop in a shop in Spain around 3 years ago! Def high quality instrument , top range . I was really impressed And i ve tried to remember the name but I totally forgot about it ! Now thanks to you I have GAS again http://www.sukop.com/

Sorry, but that's just intolerance on your part, I'd say. He's an experienced professional already, (yes, even at that young age...), making sure that his bass lead isn't going to trip him up when he takes the couple of steps backwards that will follow your clip. If only everyone could be that conscientious. I doubt that they missed you, with such an attitude.

Just picked up a Mooer Hustle on ebay for £23. First impressions are rather good. It's an OCD clone for anyone interested and has a High/Low Pass Filter toggle switch. Looking forward to giving it a proper run out. Here's a Youtube clip;

Perhaps unsurprisingly, this is very similar to my experience of the older, passive Model T - when I tried it in the shop, I couldn't quite get over the amount of honking midrange it had to spare. But then, that was the kind of thing I was looking for, so I rather fell in love with it there and then. In a band setting, I did find myself rolling off the tone control quite a bit more than normal; fortunately it's one of the more responsive passive tone controls I've had on a bass. It's worth noting that the P pickup sits slightly further back than it would on a "standard" Precision, which might explain some of the extra bark - particularly as the passive Model T had Duncans instead of EMGs, and it sounds like you're describing a similar tone to the one I'm familiar with!

Great idea. You could also playfully slap them round the face as well - to see if they're violent. If they are, go straight to A&E. And don't join.

I also used the Digitech FS3X with three different TCE heads and it worked perfects.

If you would like some constructive feedback on your website:- The one filter that I want to see is "Availability" - I don't want to wade through dozens of pictures on the off-chance that what I am interested in will be in stock. For example, I am interested in a 33", 32" or a short scale Fender, or maybe an Alembic - there are lots of pictures - all sold..... If I was interested in a 4-string fretless Fender (I am not) then I don't want to see the 10 you have sold - at least not in that section of the website. It would be better if you put them somewhere else., or allowed Sold items to be filtered out first.

Nothing - I'm in an anechoic chamber.

No plans to add to it.

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