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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 can see the markbass and branding argument, no problem at all. But honestly, if markbass want to sell a lot of these a black discrete version is essential. Pro djs and companies sell their djing services now 90% on photos of their set ups as its so internet driven now. Clients especially young brides are like magpies "ooh i love how that set up looks, lets book these" (rather than the quality of djing or sound). So it goes in a circle - brides want the discreet classy look, so choose djs with that set up, so other djs buy that set up as they can see what sells, sales of say the fbt vertus go through the roof and everyone copies. If someone had a yellow system and it didnt help them get bookings they wouldnt keep it regardless of the audio quality and theyd get a system that helped them get the work. I know that sounds crazy but its true. These systems are also popular at ceremonies and wedding breakfast which is why discretion is essential. I appreciate we are talking basses here and bands, but just trying to help them see from a different angle.

There's also this, though it's mimed for the camera. http://www.youtube.com/watch?v=vh_Qg4CbM8Q And this The Save The Children concert footage is truly amazing though... gave me the chills when I first saw it.

That tends to happen when you start licking speaker cones when they are moving

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.

I spent a very educational and entertaining two hours in a rehearsal studio with MoJoKe this morning and, rather as I feared, I have been thoroughly smitten by these systems, and especially by the Audio Chain - the larger unit with the 2x10 subwoofer. Although I have researched (quite thoroughly) all the major competitors, including all of those listed elsewhere in this thread, I cannot claim to have listened to, or played through, them all. I am therefore NOT an expert on this subject. Nor, indeed, do I have a dog in this fight. I never really got on with pooper-scoopers. But I HAVE invested two hours in getting seriously up close and personal with this Markaudio stuff, and I have been sufficiently impressed that I'll be putting my hand in my pocket. I've already listed for sale about £2k worth of kit here on Basschat to help fund this move, and there will be more to come. I'm not here to write advertising copy for Markbass, and they wouldn't thank me for it anyway, so if you want to know more about my thinking in PA terms please drop me a PM. But this being a forum for bass players, I should at least mention that the deciding factor for me was that this is a PA system that actually is also a serious high-end bass cab, and which can be used quite happily in stand-alone mode (i.e. no PA mixer etc.) to this purpose. Just stick an appropriate preamp or pedal in front of it, plug in to the dedicated socket and ... job done. You can do this regardless of whether or not it is in use as a PA at the time. Rather than - as now - having three Barefaced bass cabs (610 + Compact + Midget) and two RCF PA cabs (ART 322-A) knocking about, and taking at least three of those five to every gig by my main band, I can think in terms of losing all three Barefaced cabs with no appreciable loss of performance. Having been a notorious Barefaced fanboi for roughly a decade, life post-Barefaced will probably seem strange to me at first. But I suspect that Alex won't notice that I've gone.

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!

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.

For me the Stagg is kind of an evolution of the bass guitar, in the direction of the acoustic bass. The SLB is an evolution of the acoustic bass. If acoustic bass is your reference point then the Stagg has many potential frustrations, but if the bass guitar is your reference, or you have little/no experience of upright, then the Stagg is a good gateway and certainly better value for money than what you'd get if you spent the same on what would be a 'cheap' acoustic DB.

Checkout 2.31....amazingly economic finger action...

Sibob said: " I'd also like to think that engaging and supporting the UK bass community is high on a number of brands agendas" That's certainly high on the Gillett agenda and I'm sure we're not the only ones. Must say I was expecting to see Barefaced and looking forward to a chat with Alex. Scrumpymike

Buurman & Buurman, or Pat&Mat as they're called in Czech Republic. They're awesome! (And my boy is at home with the flu)

Aaaaargh! OCD alert ...

you won't get the timing and feel playing with two fingers. It's all about raking one finger upwards imho

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

Yeh just drop that into the conversation, why don't you? You've got a missus who's into some serious bass gear! Dang, I've gotta get me one of those! Maybe keep a look out in the FS 'other musically related stuff' section I guess...

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/

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!

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.

We find the volume sliders on the PA work brilliantly as talent filters for BV

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

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!

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

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https://www.ebay.co.uk/itm/Harley-Benton-51-Style-Precision-Bass-copy/202251137876?hash=item2f171b7354:g:xVMAAOSwYMNanqiX This looks a good buy, got a SD pickup.......

Stick a saved search on eBay called classic 50s precision bass I think

Not a quest I've ever been on! If it ain't saturated, I ain't infatuated.

Laibach

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