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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.

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 its anything like my VM P you've nout to worry about. Cuts thru very nicely so various audience bods have told me.

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

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.

The Bass Driver DI was designed as a tone shaping direct box. The concept was to plug into the DI and send the "parallel" output to your bass amp and use your amp for your stage monitor and tone. The Bass Driver DI's XLR would be sent to the mixer and would be set for the most desirable DI tone. The Bass Driver does have a specific tone with a midrange dip that many find desirable. When running into the front of an amp it usually sounds best if your amp is set flat. If your amp is set with a midrange dip (which is quite common) or you have an active bass with a similar setting, this will be exacerbated using the Bass Driver DI. It really comes down to whether or not you use the pedal as an always on effect or like to turn it on and off. Usually backing down the Blend or reducing the Bass and Treble (plus increasing the midrange for the V2 pedal) will take care of this. If you require more midrange content you might consider our Para Driver DI, VT Bass DI or Q\Strip (no amp emulation though) products. There seems to be a misconception about tube emulation and tube amps in general. I guess if you're a younger player and have not had much first hand experience with tube amps it's easy to assume that tubes=distortion which is not true. Natural tube output stage distortion is not so much an effect but a byproduct of pushing an analog circuit beyond its design limits. Tube amps as well as our tube emulation can be set clean. Tube amps were designed to run clean. Vintage tube amps had no "blend" control. We provide one because in a studio setting it was quite common to mic a tube amp and also run a DI of the bass direct to the console to get a more complex and refined tone. A big part of the problem when recording bass even in a large professional recording environment is that bass frequencies are very hard to control and will easily bleed into other microphones if say tracking other instruments. This tends to be why most studio and live sound techs prefer using a DI versus a mic with bass amps. Because our products emulate vintage tube amps they are able to achieve their overdrive and distortion characteristics irrespective of their volume levels unlike a vintage Ampeg SVT or Marshall. Because of this, it is advisable to be judicious with the Drive settings as in a live context you will play harder when competing with guitars and drums which will result in more overdrive than intended.

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

The facebook culture does seem to have bred a new wave of bad manners IMO. I don't do FB, just don't get it etc. Couple of years ago I nearly missed a local fellow musician's funeral as they only announced the details on FB. Of course, up to me to maybe get involved if I want to stay in the loop, but some things require a more personal approach I feel. Your band situation is one of these.

This sort of mismanagement isn't confined to younger bands. Some of the oldies I play with are as poor in their organisational and communication skills as this. I find throwing the toys out even when perfectly entitled to do so rarely get any results, never makes a good impression and never makes me feel any better. I usually put it down to experience, moan like hell to the wife and move on. IMO never leave on bad terms, always be the professional one and leave a positive vibe behind you. Sometimes people will remember this and it could be you who gets the phone call when an ex band member is looking for a bass player. Edit. . .. hey Cat, we're on the same page.

If I may -- my attempt at getting the Jamerson sound -- though a bit more modern and more "up front." It's a P bass (A 1987- 62" reissue to be exact) with very dead strings and some tissue paper squished between the back cover and the strings. I always loved this part and felt it was criminally under mixed. I fixed that. lol

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

announcing stuff on Facebook without clearing it with everybody first is bad form and leads to difficulties all round, but some people don't seem to have any idea about good manners, if you want to do the gig they want you to do, do it if it fits in well with you, if not or you feel badly let down tell them to flip off

Got the emai - they are now on the way from the USA. Can't wait! Now I need to find some stack knob pots and decide whether to put the bridge J in 60s or 70s position.

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

Another vote of confidence for Newtone strings here! I also used them in the 90's like BigRedX, as a result of the costs of 6 string bass sets here in the UK, for the cost of one set of DR's from The Bass Gallery, I could get two custom made sets from Newtone, and they were just as good! I stopped using them too, in favour of Warwick Red Labels, this is getting spooky! When I started playing 33" basses however, I wanted to get a better fit and Newtone came to the rescue, and haven't really used anything ever since. I now play 31.5" basses exclusively, and Newtone wind me a perfect set, 125 100 80 60 40 28 - wound on heavier cores to make them feel tighter, much like the same set on a 34" bass and they work amazingly well. I only wish they made flatwounds... I find that they last a long old time, as long as any other strings I've had, I always found Rotosounds dulled VERY quickly for me, but everyone is different and perhaps my sweat is kryptonite for Swing Bass strings. Eude

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.

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Did he beat it or is he sticking around?

...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!

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.

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