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In the rear control caverty of my bass.

The non-Fender is probably quite a playable bass....

They'd only allow you to join if you could type with both hands at once.

I liked the tone of my One10's but I had concerns over the fact that they couldn't keep up with my band's moderate volume in certain pubs (acoustically damped by carpets and furnishings). Despite everything they are very small cabinets and do not defy the the laws of physics. I confess that I succumbed to the hype and believed they might be as loud as, say, a Markbass NY121. Unfortunately they're not. I actually replaced the 2 One10's with one Markbass Std121HR and have done a number of gigs with that, with no issues and plenty of spare volume available. I also think there is a valid criticism of using non-standard optimistic specs on the website ("usable frequency range" etc among others) and the general tone of the site inferring that other manufacturers are "behind the game" in design terms. Don't get me wrong, Barefaced cabs are a good option among many good options but there are other cabs out there are on a par or maybe even better.

Early on I recall being obsessed with Steve Priest, then Geddy Lee, then dUg, so it really came down to dirty clank. All hail Tech 21 NYC. It doesn't matter whether I'm playing a Squier Badtz-Maru or one of my Lulls; that's the tone I'll dial up.

I'd find that a prohibitively slow method of moving my gear around.

Some awesome entries this month & very hard to choose 3! Initially I was a little disappointed at seeing just 2 votes for mine, as I thought it was rather good, but after listeneing to the entries the 3 that I picked I think are better than my entry, as are others. So now I'm not disappointed at getting 2 votes. I think it's an acievement for me to get 2 votes against some awesome tracks! Great work guys!

I love this version, these ladies' harmonies are amazing

I read the topic title as "Deplorable String Mute". Thought it was another Rickenbacker thread.

Bass on an FS1E to practice in 1977

From what I've heard on other YouTube clips, the technical problems seem to follow him around...

Bit of a weird one... It was the gig with almost no promotion, where our band name was billed wrongly, where we foolishly accepted the fact we weren't getting paid due to the possibility of "good future gigs" (I know, I know!). Anyway, 'twas in a small Shropshire village, even smaller pub frequented by an odd mix of walkers, tourists and local heavy drinkers. PA was set up by the band who were actually getting paid - we had a 1 minute sound check which was pretty good when the landlord's wife came out of the kitchen next door saying could we turn down as they couldn't hear orders in there... So we turned down a touch, closed the connecting door which made it extraordinarily hot, and started playing; of course I'd turned down much more than the guitarist so had to keep fiddling. But we played well; at one point about 30 women, all dressed to the nines, came past the stage into the 3 cubicle Ladies toilet by the stage - it was like the initial walk-on in TV's "Take Me Out"; we were playing our one and only blues-ish song, which has a verse inspired by Killing Joke's "Change" and a funky slap chorus if you can imagine that. It also has some quite long pauses where the singer sings his line, then we come back in. One of the women came up to guitar/singer and asked if we did "Summer of 69" (we don't do any covers!), so rather than going back into the song, our Tim quickly sang the 1st verse of the Bryan Adams classic (!), stopped, and we all somehow continued the interrupted song - which showed we could busk it a bit! Of course, the young women -who turned out to be young farmers along with a similar amount of young men- weren't interested in us (if we'd been the Wurzels it would have been different!), but there were quite a few rockin' locals who enjoyed us - and at least 1 older hikey type who'll no doubt leave an appalling TripAdvisor review for the pub. She ran into the Ladies toilet clutching her head as if the demons of Hades were clawing at it - which in a way we were! Still, last unpaid gig. Not sure if the pub will ask us back anyway as we were a touch too "rock" as opposed to "pub rock" for them!

Band members playing along to the music coming from the juke box while others are setting up.

I feel for the OP's mate. Couple of things... * If it's choking out on bends it's just as likely to be the neck relief as the action - best he check this before he gives up. And if it isn't the relief it could just be a high fret. Also, if it's a vintage spec neck the 7.5" board radius will always choke out with big bends up at the dusty end unless the action's jacked well high. * Alder / agathis / basswood? TBPH, it's not going to make a huge amount of difference anyway if it's a multi-piece Squier body. Whther it was ash, alder or agathis most people would have to be have to be a total cork-sniffing tone hound to tell the difference blindfold . People go on about alder and ash but afaich there's not much difference, unless it's a shoot-out between some really light, resonant old swamp ash and some boat-anchor alder. Even then the amp and the speaker make more difference than wood types (as the OP's mate has discovered). * I've done the steel trem block thing on a proper Strat and it made a microscopic difference to the sound - nowhere near as much as the difference between setting the bridge to float and setting it flush to the body. * Final thing: He's gone round, played it and walked out the door with it 'as seen'. Very difficult to turn that one around. The other guy claimed it was an alder body; maybe he genuinely thought it was; maybe he's a fibber; hard to prove either way without suggesting the guy's a liar which isn't going to get the Chapman back. Really, I think he's just going to have to suck it up and put some work into the guitar. Caveat emptor.

With the risk of sounding like like a broken record, the BB2 i had was left way behind when i used a cheap Peavy 4x10 at my rehearsal studio. The BB2 is a great cab, but no way can it put out the same kick and punch as every 410 out there, and in my experience not even a cheap one. Just to be clear, ‘keep up with a 410’? What brands are we talking about there? Exactly what 410’s have been tested next to a BB2? Obviously not the Peavy as ive had first hand experience with that and the BB2 was sorely lacking. Does it keep up with the BF 4x10?

I'm so bored with having to ask where gear advertised in the Marketplace is located that I'm wondering whether it shouldn't be a compulsory field?

Here is a look back on the life of a friend that many of you might have seen....especially people from Nottingham,Weymouth and the West Midlands. I hope you enjoy his story of life on the road in music.

I have a BF Super Compact, two DIY BassChat Mk1( one with a slot port & one with 4 x tube ports) & a Fender Rumble112 v2. I use these in differing combinations with Mesa D800 & Fender Rumble 500 head for the various venues I play. Recently one of my bands had secured a number of ongoing gigs in a small venue and I wanted something really small because of the tighter space and small room size. I considered a Fender Rumble 500 combo but concluded a BF One10 would be just the job as I already had the Fender head. So I rang BF to check delivery lead time and Harry informed me that it was 3 to 4 weeks so I duly paid my deposit on 24th April. Having emailed weekly to check progress I was told on 21st May that the cab was in Test and would be shipped that week. As I needed the cab for Saturday 26th May I phoned Thursday morning to make sure I got the cab on Friday before the gig. I got no reply having phoned dozens of times throughout the day. I finally got an answer from Tom at 3pm to say that it would ship on Thursday . Great ! time to play it in a bit and get the right EQ settings. Sadly I had a further call to say that the FedEx pickup time had been missed but BF would cover the extra shipping cost for a Saturday delivery. Having expressed my disappointment with the poor communications I received an email from the Man himself Mr Alex Claber explaining that the factory had been shut for most of the day because the team were on LEAN & 5S training . So my order wasn't so Just-In-Time more Just-Abit-Late 😂 Now I have tried the new Tech 21 VT 200 combo & the Fender Rumble 500 combo and the Fender definitely suited my needs best. I was disappointed with the VT 200 combo as the speaker lacked depth & the headphone socket was really noisey. The preamp was great with all the familiar VT Bass sounds on hand but the missing blend control was a disappointment. Setup the One10 for the gig on an angled stand with the Fender head on top secured to the cab handle by a nifty DIY bracket that I'll share on another thread. Fired up and what a sound!😎 The One10 was absolutely amazing for it's size with a huge amount of depth and clarity. Considering I was using the same head as in the Rumble 500 combo the One10 was much louder and fuller than the Fender combo with a much smaller footprint. From the various comments on forums I was expecting the One10 to be far more 'coloured' than the Super Compact but to my ears it was only a little warmer and to achieve my particular sound I did have to back off the upper Mids but not as much as when using the Super Compact. All in all the One10 has been a great purchase that provides me with every foreseeable combination I need for the venues I play. A One10 on an angled stand provides a small compact solution that delivers a really loud, full, articulate sound that suits me perfectly. Thanks Harry & Tom

French Horn chat I've got the French horn

We all leave the gig at the same time , we all pitch in , the cash isn't shared till we are ready to go . for 1 of the band to spend 10 minutes showing some respect seems a no brainer to us . Some jobs take more effort than humping PA and lights if you've not done it before

No harm in asking IMO. We have something in the pipeline, just got to wait for rick to tie the ends together. Hopefully more progress soon.

Interesting - you're using a pick just for two songs, for the sound quality? I'll check your links... I'm in Mcr too, we could meet up in the bass corner of Johnny Roadhouse some time if you fancy?

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Rated in the industry-standard way, the power handling of the BB2 is 400 watts. I'm afraid you need to be very careful if you're going to repeat the claims on the Barefaced website. Also, please explain how you get 127dB. Ashdown do give SPL figures. They are between 101 and 103dB @1m. So you can now tell us what their maximum output is. We're listening. And that's quite an interesting claim you're making, Chris, that Ashdown cabs can't handle their rated output. What do you base that on?

If you want to throw another maker into the mix, Rotosound Piano String Design http://www.rotosound.com/psd-bass-99/ These used to be called Superwound, I had some of these on my Yamaha BB in 1980! Good choice for an Ovation Magnum.

Me and/or the drummer often do a bit of mingling after the last song , it lets the punters and the landlord know you are interested and sows the seeds for recall before you hold your hand out for the cash 👍

The spectracomp is excellent. The reason you may have read conflicting reports about its noise floor is frankly because it can be either hissy or dead silent, depending upon settings used. I’m not a heavy compression tweaker so rely 99% upon the toneprints. Last year, I spent a considerable amount of time auditioning the toneprints through headphones to not only find the sounds I like but to find those with the least noise. The available toneprints have wildly different noise floors.

I've owned 2 Barefaced One10's and no way are they as loud together as a typical 4x10. From what I gather the Two10 is much the same as 2xOne10's as you would expect. Something based around a Kappalite 3012LF would be the only real option such as a Fearless F112 or the TKS 1126 (I own 2 of these and they are loud given enough watts). I'd avoid the Orange given the fact that it's Isobaric. Not many real world advantages over a single speaker and plenty of disadvantages including weight.

By car or van (or taxi if staying at hotels in other countries). Never been one for this public transport lark, not through any snobbery, just laziness - carrying a load of gear on/off buses/trains/tube with a knackered back doesn`t suit me.

If you're stuck for ideas you could wire a kill switch, that way you can leave the bass plugged in between sets without draining the battery.

Plus of course the North Face jacket is 'breathable' so no sonic downside 😅

Phil, out of interest I tried firing up WinISD to see the graph you get with these numbers (46l box, 55Hz tuning). To get the same port length I needed to take the box volume down to just over 40l - so I assume the 6l difference is you taking account of the driver and port volume?

I know exactly where your coming from, been there more times than I care to admit. Love your honesty too, it happens to all of us that are working in the trenches of local level gigs. I still maintain, at the local level even if the band is great your going to lose under those circumstances. Hopefully next weekend will be better for both of us. We have our second outside gig of the season and it's a new venue for us. Any land Lords or owners here? If yes why do you book bands if your clientele has no interest? I'm not trying to be flipant, I'm thinking there must be a reason or some sort of logic here. Blue

Put two boards together today that will likely stay put for a while whilst I offload a bunch of pedals! I’ve run out of Velcro though so some are just being held by cables/gravity. Also ignore settings as they’d not been adjusted after put them together. Rock board. A bit of a squeeze and can’t quite reach all the buttons on the DP-3X, but it’s always on so no biggie. I’ve found the DP-3X to be so touch sensitive that I don’t need an extra dirt pedal, I just have to exercise more control! I do like to run a wah before it and delay/phaser at the end though, and that would pretty much just be more board if my band had not imploded. So since I’m playing mostly by myself, I’ve combined this with my faux Royal Blood style setup; ABY switch goes to the wah then the dUg on one side, and Tender/Whammy/Joyo/Delay/Phaser/Mimiq on the other. With the stereo doubler on the octave up and the bass panned central, it sounds amazing through headphones. I want to try a stereo phaser in place of the Phase 90 now! Funk board! VTDI is a very versatile pre, and there are great synth sounds to be found from running the Octabvre 100% wet into the BB Preamp and Fwonkbeta, or even both filters combined.

B&Q do mats designed for kneeling on (gardening DIY etc) and they will be big enough for most 1x12 size cabinets or smaller.

Contract of sale is void if it’s based on false information. https://www.which.co.uk/consumer-rights/regulation/misrepresentation-act-1967 Tell the guy the deal is off and learn a lesson from it.

I'll be very interested to know how that Radian cutter performs. Had a look at the link you posted and it certainly sounds the business. Not cheap, but you get what you pay for and if it gives a nice finish, it would save a lot of hassle too. Cheers

You'd think that would be an easy question to answer but in fact it requires more consideration! For example, I think its an unforgivable sin to have done a gig with every note perfectly in tune and in time; but with a drab soulless performance given. I'd much rather someone put their all into the music, to make it expressive, emotional, varied their touch and tone, used dynamics etc etc and the odd mistake crept in here and there because you're trying your best, rather than sleepwalk through all the notes and think you did okay when in fact it was quite dull to the audience.

Looking at it I think you had a lucky escape.

Just spotted this thread! I'm a huge Chicago fan - particularly of the amazing bass playing/vocals of Peter Cetera (hence my name on here). For me, he took the best elements of Motown and McCartney basslines and progressed them further in a jazz-rock environment, aided by the fantastic Danny Seraphine on drums. Add the much missed and hugely underrated Terry Kath on guitar (and Ray Charles-esque vocals) and you had imho the FINEST power trio ever in rock! Yes, better than Hendrix/Cream etc..... Further add all the great songs and a kickass horn section and you have the now legendary Chicago 'sound'. Just fantastic!