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I think my first audition made the band giggle. They're a covers band that will cover anything from gossip to audioslave to GnR. I had never been in a band before, and was terrified turning up to the audition. I'd played the bass for years, at home.... When I get there the bassist before me was just tearing down his 2 4x10 rig with Trace head and I immediately thought "shi what am I doing?" I place my 25 watt peavey practice combo next to it and tell the other bassist I was ready to bring the thunder - we have a laugh. I take my guitar out of its bag. Did I forget to mention I didn't actually own my own bass? It's my sister's that I stole years ago and it still has pink ribbons on the case. Anyway... I play my heart out and barely get heard over the thunderous drums. I place my tiny amp in a corner at head height to allow us to just about hear me and somehow I get the gig! We've just booked our 8th gig in July in front of 200 festival goers.

Limelight 00218 has finally arrived and what a beauty she is. I asked Mark to do as light a relic as possible on a '57' precision. She looks great, sounds great, and plays great. What more can I ask?

Ok, heres my real world experience of using x3 types of set up this year. First Set Up - markbass 500w evo head & barefaced super compact gen 3 (giving 8ohms - so approx 300w). gig types: - a couple of large functions - 200 people + and a few smaller gigs - all with pa support. opinion: firstly the portability is phenomenal. believe the hype. you can easily carry in one hand. foot print is small and cab can go anywhere. i was able to get some gorgeous tones out of it, as well as some really nice gigging tones and volumes. Only occasionally on some songs did the volume become an issue and i had to really dig in to hear. I was convinced this was my set up for ever. the amp was running fairly full on, with a little headroom, but i didnt really need much more volume. Second Set Up - markbass evo head and 6ohm markbass 610 - so approx 400w. gig type: my current set up - did beer festival in fairly large social club - around 300 guests. i picked his up on a whim at a bargain price as our band was starting to do much bigger gigs, and i always fancied a 610. So .... i was 100% happy with the super compact, this 610 was just going to give a bit more volume.... WRONG!! Once i hit the first note i just sounded SO SO warm, full, powerful and suddenly lifted all the band. Volume nowhere near half, and everyone could hear it crystal clear without it being loud. I think the thing is, the super compact is perfectly acceptable, brilliantly portable and loud for what it is. However, the 610 is just back to what bass is about - full, warm, powerful, punchy and never needing to be over loud. Suddenly the super compact had been brought back down to earth. Fair enough - its not meant as a competitor to a 610 but the difference is there. Think of a soloist compared to a choir - just so much more full and nice. Third Set Up - ashdown evo 900w head and ashdown 8x10 4ohm cab. gig type: one off large out door festival. large stage. large pa support. rig supplied by the festival. i used this at the weekend - and i swear its a wonder the whole band didnt get blown 200 yards into the crowd. Absolute ridiculous power. Ridiculous. i think it was on half volume and i had to turn my bass right down and still all you could hear was bass. Not a particularly nice sound, but thats more to do with we only had a 10 minute window to get set up. I cant even compare how the super compact would have been in comparison. Probably a whisper to a scream. In conclusion, it doesnt take a genius to see that thicker, better constructed wooden cabs, with more speakers have a phenomenal effect on everything - volume, tone and presence. However they also are x amount heavier, bulkier and more awkward. In my opinion, can a super compact compete with an decent 4x10? - only just, and thats if the band dont need you playing full out. If your a smallish pub band the super compact is the way to go, absolutely. /itll be great for you. Just as loud as a 4x0 in a small space, nice sound and SO easy to move around. However, in a medium sized gig you can cope with a super compact, but dont expect it to have great presence or much headroom, regardless of whether you are using pa support or not. It becomes more of a monitor. In a large venue its 4x10 upwards all the way.

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Rhythm sections don't play solos EVER!!!!!

The last time I saw a performance like that of the poor old gentleman to Jack's left was when we played a bank's office Christmas party. The CEO's secretary who booked us was there to explain that her boss fancied joining us on stage. For the whole set. And he'd already set up his stack. And his pedalboard. And he had some song suggestions. We'd just finished setting up on the periphery of the CEO's square footage when this perfectly pleasant, slightly porky chap wandered over with a PRS round his neck and asked us if we were ready to go? We were and we did. After a couple of numbers I looked round and this chap was pulling all these guitar faces and widdling away like a nutjob - in total silence, his amp being turned to zero. Our guitard looked at me, I looked at him, we both looked at the drummer and we smiled. After we finished he shook our hands, fulsomely complimented us on our playing and asked if we'd like to do it again some time. I said yes, certainly then wandered off to talk to his secretary away from the main party and ended up boffing her across his desk. Funny old world, eh?

Added this nice one to my arsenal Arpege six SeNr 026

I've said this before, but BC is one of the most polite, friendly and supportive forums I've ever come across. Mind you, what would you expect? - we're bass players aren't we ?

Honestly, didn't expect any of this, as i've said on the other thread i initially started, just to warn people of the fact there was a scammer out there. Great community here. Thank you so much

He only committed a bit of fraud - not murder, for Christ's sake!

If he does time, that won't be necessary.

The specs for the TKS 1126 are available online. http://www.tks.se/ The F112 specs will be similar enough to get a general idea (except the high frequency range will be around 20khz due to the tweeter). Specs won't tell you too much given, for instance, that the stated power handling is quoted at 450watts and Ed Friedland in the review is using a 2kw amp. I'm using 450/500w @8ohms into my TKS but a lot of Fearless users are using a lot more. The more important factors in tone will be the crossover points and the sound of the mid driver used. As with the Barefaced cabs there is a lot of user chat/reviews out there regarding the Fearless line. The Greenboy website states this about the DIY fEARFUL cab A 12/6 is almost as loud as most 210 cabs with one watt input, and more extended in response. When driven fully it can get nearly as loud as a good 410. The fEARFUL will sound fuller while maintaining clarity, and will disperse wider. It will not lose its punch when driven hard.

The bass version compromises by combining attack and release into one knob, but adds an ace up its sleeve in the form of the HPF. This lets you filter out the low end from the part of the circuit that detects the peaks, and with it dialled in you can negate the issue that many single band compressors have where if you hit a low note hard, it makes the compressor clamp down so hard that it audibly impacts your overall volume until it recovers and swells back up again (depending on how fast your attack/release is set).

Surely that should be … irregularly?

Musical masturbation. Please do this in private, not on stage.

There might be huge technical ‘evidence’ as to why one ‘thing’ (wood, pedal, make, mode, bass) is better than another but in the end I think the majority of people make their decisions according to something far more mysterious, the vibe or the feeling they get from whatever ‘thing’ it is. There are endless threads on here (extremely helpful threads I hasten to add) on the merits of all sorts of ‘things’ that go into huge technical detail but I remain convinced that the final decisions we make about what equipment we choose is based, usually, upon highly subjective and nebulous criteria that it’s difficult to name, let alone define.

So basically the other guy's made a £60 profit on a voided transaction, the 'justification' being a couple of vanilla set-ups. Nice work if you can get it. Really, everyone needs to learn how to fettle their own guitars. It's not difficult; the basic tools are dirt cheap; forums like BC are full of helpful people with bundles of experience; there's tons of information and vids out there; and even a little practical knowledge helps when trying out prospective purchases.

Manchester...erm, mid-80s... Our drummer (in an originals-with-the-odd-cover 80s Rock Band) was about to become a Dad, and had reluctantly decided he'd have to shelve the rehearsals and gigging for a good while, so he'd stepped down, and we were on the urgent look-out for a replacement. As a thoroughly nice chap, and knowing we had gigs booked we needed to fulfil, he had even left his kit at the rehearsal rooms for new drummers to use, in part or whole, for the auditions. We organised a Sunday afternoon, with an hour slot for each drummer we'd contacted, and it started unremarkably, but then, second to last, was the standout. And not in a good way. He turned up in a six-wheel Transit, immediately earning about a thousand bonus points, but it became terribly clear that all this thing held was his kit...and there was little room for anything else. After refusing to use of any of the already-set-up kit, he began ferrying kit in. And more kit. And more kit. After ten minutes of watching boxes piling up, and with his end of the rehearsal room beginning to look like the dockside of the Queen Mary before a round the world jaunt, we volunteered to help, and then we all spent the next 45 minutes setting up a furry tigerskin-covered double-kick kit, with six raised toms, three floor toms, eight rototoms and so many cymbals we couldn't see him any more. As he tightened up the third china cymbal, I said "No gong, then?", and he froze, looking concerned. "I didn't bring it...should I have done?" I assured him it wouldn't count against him, and eventually, with about five minutes left of his allotted hour, he was ready. The singist had been forced to nip outside to intercept the last auditionee, apologise and ask him to bear with and go for a pint in the local for twenty minutes, and then our hero launched into the first intro, to a then-bog-standard Bon Jovi tune we'd decided would make a good starter audition song. Now, in 35 years of bands, I've never played in a freeform jazz ensemble, and I certainly hadn't back then, so I was unfamiliar with the five-count intro, and the thirteen-bar drum fill*, but this chap was clearly a master. We couldn't possibly fault him for brio, enthusiasm, and certainly energy...it was his counting which left quite a lot to be desired**. In addition, having taken so long to set up his mahoooosive kit, he was determined to hit every single drum and cymbal as often as he could, with scant regard for the song, or indeed the befuddlement he was creating amongst his prospective fellow band-members. I shall leave to your imagination the meal he made of the drawn-out ending, suffice to say Richard Wagner, had he been hanging around the rehearsal rooms (unlikely) and not dead for about a century (for once, fortunate), would probably have shaken his head and said something unflattering about bombast. In German. He finished by standing, his arms aloft and his eyes shining. Had that thing Usain Bolt does (not the running, the archery-arms thing) been around, he would have been doing that. We shuffled our feet, unable to maintain eye contact with him or each other, for fear of collapsing into hysterics. Eventually the singer thanked him for his time, and we all heaved-to loading his van again, while the singer went to buy the other auditionee another pint. He didn't get the job. * I'm probably doing an enormous disservice to freeform jazz ensembles around the globe here, so apologies if so, but I'm at a loss as to where else to place it musically. Perhaps amongst those gangs of glassy-eyed, saffron-robed enthusiasts one encounters on the city streets, each banging a drum in a random manner with a blissful expression and no regard for hard-pressed shoppers... ** I note that 'dyscalcula' is the numerical equivalent of dyselxia, and apparently A Real Medical Thing. It may have been that he was a secret sufferer; that would explain an awful lot. Edit: I've just spotted that I've spelt 'dyslexia' wrong in the footnote above. Oh, the irony...

Hi! I'm Ian from Seattle WA, I run Artist Relations for Marco Bass Guitars and play in a slew of local bands. My primary axe is my custom Marco TFL "Jazz-Ray," with my TFL 4 Relic and TFL 24 also in heavy rotation. I used to play nothing but Stingrays and Jazz basses, but now I have the best of both worlds! Here's a list of current musical projects: Devils Hunt Me Down - "Cascadian Dirt Rock" / Groovy Hard Rock - https://devilshuntmedown.bandcamp.com/track/how-dare-you Holy Funk - Electro Funk - https://holyfunk.bandcamp.com/releases Patrick Galactic - Psych Rock Moon Darling - Psych Rock I'm always happy to answer any questions you have about Marco Basses (it's my job!), but I'm equally excited to nerd out on all sorts of gear (especially pedals). Currently running a GK 2001RB through an Epifani 6X10, and have all sorts of workhorse pedals (overdrives, wah, tuners, reverb, ABY), as well as some fun stuff (talkbox, Erica Synth Acid Box III, and some prototypes). If I had my pick though, I'd be running all these weird pedals through a Passinwind head, some day I'll have the budget Charlie! Cheers! Ian

That Madam is a Mr.

Just got an email offering 10% discount on orders before June 4th 2018. Code to use at the checkout is GDPBLAH Cheers.

I just finished listening to the first two Japan albums and to my suprise a couple more new Lutz tracks dropped, so now these are playing...

He should think himself lucky he didn't go on a killing spree or it'd have been the Beatles for all eternity.

Ok Ok. less serious then: Nickelback!

You're not *$£!%*X* joking!

How band members handle musical differences when an issue has been thoroughly debated and the (rest of the) band has agreed on a solution: The spoilt toddler's flat out refusal - they don't care what everybody else wants to do, they are giving up their time to play in the band so why should they be expected to do anything they don't want to do? The never quite letting it lie, bringing it back up again every few weeks to see if they can get their own way after all. Particularly annoying when it's a song arrangement that they play as agreed for a few weeks and then go back to their original version, to see if anybody complains this time. The passive/aggressive: appearing to agree that they have lost that argument, and then showing that they were right by playing the song or arrangement that they don't like as badly as possible (or in one instance, never quite finding the time to learn the songs that they didn't like). Funnily enough, this has happened in a couple of bands, with the lead guitarists (isn't it always?) thinking that they were proving their point about how their choices would have been much better, and the rest of the band thinking that they weren't very good if they couldn't play those songs properly and sacking them.

Done, good luck with the rest of the funds.

Clearly BC generally seen as a forum dedicated to the bass guitar but obviously there are also many instruments which use the bass clef. What about the bass singer in opera or doo-wap groups? The tuba in brass bands? The (contra) bassoon in orchestras? The bass synth in dance music? Anyone here play the euphonium or baritone horn? For me some of the best bass sounds come from the church organ, I mean those big muthas in cathedrals with pipes several metres tall. Is this kinda talk sacrilege?

Yep, the subs are up to date and another bass I have advertised comes up, but not the fenders. I'll re-post them this evening, got to push on with learning material for next Grateful Dudes gig now before my daughters arrive for lunch!

As far as I can see the vendor gave every chance for the purchaser to do their own investigation before and during the exchange, he's a couple of sets of strings down and a couple of hours time out of pocket.

Is there a Guitar Guitar near you? They usually stock Roli stuff. If you're ever up my way, you're welcome to pop in for a play about on it.

Isn't the whole point of jazz to riff off each other? Not to play everything exactly by rote, the same every time, but to see where a tune can go? Otherwise it becomes like some classical concerts, where the front row is populated by people following the score and tutting if there's even the slightest hint of "Interpretation" rather than just enjoying the music...

Done

Done. Is it worth posting a link to the page here rather than the original post? https://www.crowdfunder.co.uk/musician-scammed-out-of-valuable-instrument/? Ralph

Pick up the one you want : https://www.thomann.de/gb/fretless_basses.html?oa=pra

Great bass playing and I like the singers voice

For me a cathedral organ played at full pelt beats everything else hands down, bass guitar included. I've been in York Minster and Glasgow Cathedral with the organ having it large (is that too down wiv da yoof?). Utter magic. Don't forget the trombone plays the bass clef too.

There was nothing happening to your left.

African't.

Nope, because even if you think you've no intention of buying anything, if you're like the rest of us, you will anyway. If not on that visit, then the next, or the one after that. They rely on it!

Credit where credit is due, just had a fantastic experience with BassDirect. Had an issue with a purchased bass, they were very polite, friendly and understanding. Sorted everything out, above and beyond what I would have expected. Their attitude and provided solution was far beyond what I would have expected from even the best Customer Services. Well done indeed, a very happy customer.