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my own frog

https://www.loudersound.com/news/geddy-lees-big-beautiful-book-of-bass-gets-release-date Looks interesting, especially for us Rush and Ged fanatics! 😁

Booyah! I'm a happy chappie.

Hello guys, This is Ryan Owens from Trickfish. Thanks for talking about the giveaway and the Trickfish Bullhead .5K! You are correct that we do not publish an RMS rating for the amplifier. We do this for the very reason of not wanting to publish confusing information. The fact is that there is no set protocol for establishing an RMS value and because of that you never know if comparing the RMS of two amplifiers is actually an apples to apples comparison. We have chosen to publish the most accurate specs we can to allow the user to be informed about the amplifier: 8 Ohms - (continuous power 235W @ .13% THD, 365W @ 1%THD), (peak power 506W @ .13% THD, 730W @ 1%THD) 4 Ohms - (continuous power 312W @ .13% THD, 702W @ 1%THD), (peak power 625W @ .13% THD, 1404W @ 1%THD) I will also add that the power section of the Bullhead .5K is the ICE 700ASE, the same power module in several other amplifiers in this price range. There is detailed info about this power module available online. I think there was also a question about the frequency selections on the Bullhead .5K. Let me describe the preamp a bit to help you get a better idea of how it works. The bass and treble settings on the amplifier are shelving EQ's. For the BASS setting you select you will be adjusting that frequency and everything below it..... for the TREBLE frequency you will be adjusting that frequency and everything above it. The LOW MID and HIGH MID are variable band pass EQ's. We have the width dialed in depending on which frequency you have selected. These frequency settings and widths are all very carefully dialed in for a bass instrument. To me, that is what makes the Mike Pope preamps so musical. The frequency selections are labeled on the amplifier so you will know exactly which frequencies you are dealing with. They are: Bass: 40Hz or 80Hz Low Mid: 333Hz or 473 Hz High Mid: 1kHz or 1.8kHz Treble: 4kHz or 8kHz I am happy to answer any other questions you guys may have and hopefully some more guys who have first hand experience with the amplifier will chime is to give their impressions. Thanks guys and good luck for those of you who entered the giveaway. Ryan Owens Ryan @ trickfishamps.com

Great stuff man, nice one!

SKB hardcase with jazz bass

I've already got it on pre-order

I hear they are good for playing a Tango or two

I think I overdid it yesterday, my foot was hurting again this morning but hey... it's getting close to the good bit now and I'm getting excited (I live a sheltered life ) First job was to cut the other jack plate recess. Then time for the final sanding, I sanded the back and sides down to 240 grit and the tops down to 180 grit; I did explain this before but just in case: Sanding with too fine a grit can lead to forming ripples where the sandpaper removes softer wood faster than the harder wood. Given that on Mahogany it is very unlikely you'll be able to see sanding marks from 240 grit I stopped there. The tops are getting grain filled and painted so there was no need to be too fussy, nothing will ever be seen even if I stopped at 80 grit. I also masked off the neck joint, I did a double layer just in case some spray got in there. After that and still before breakfast mind, such is my enthusiasm! I sprayed the first coat of sanding sealer from a rattle can as I was just feeling too lazy to set up the compressor. after an hour and breakfast I sanded them and sprayed another coat and left to dry off for a couple of hours. Then I cut them back right up to the banding so they were smooth but leaving the bindings straight from the can for protection against the grain filler. I masked the sides just for general tidiness then put on the first coat and wiped it smooth and went to sit down for a few hours. The destructions say 4 hours so that's what I gave them before cutting back with 240 grit again, It all looked good other than a couple of patches I wasn't sure about but either way they got a second coat of grain filler along with the headstocks, I did those too (forgot). That's it now until tomorrow, sand them back, give them a thorough inspection and maybe get the spraygun out and put the black on if I have the time

@intime-nick - it's all very addictive stuff. I would not want to do a gig any other way now. I know that they are perceived as very expensive headphones... but the performance of some of these IEMs... they are simply staggering. The lows on these 64s... I'm sure if I wasn't careful, they would be way, way, way too much. And when I look at my ACS where I started compared to where I am at now... well, there's just no comparison. I've been lucky to try quite a fair few IEMs in my time now, especially with all the tradeshows I do... and I just don't know why people wouldn;t go this route. It's just that to some people, dropping a shed load of cash on "headphones" just isn't as satisfying as buying some wedges. Personally I prefer not having to carry the wedges and having a superior monitor mix. But hey, thats just me! 😛

I have absolutely no complaints about my Jake 5, either. It exceeded my expectations, which were already high. Fit and finish are perfect.

I don't agree; there's quite orange of good stuff posted here.

What do you want - blood? 😀

You have to be careful with your pronunciation in certain places. You might get a sting in the tail otherwise.

Oooo, Nordstrand...I have a single Bigman pickup in one of my Shukers, it's basically two Big Singles, and I have it three-position-switched for single coil (front coil), parallel and rear coil (series was just wayyyy too mental) - it's a great pickup in a MM shell. Now then...a nice light P with two of these and the switching/controls of that MTD (two 3-way switches, plus blend)? Bwahahahaaaaa.... 😀

Either enjoy the space not having the other guitarist gives you as it also gives the audience a break from the wall of sound, or listen to more Jack Bruce and move the bass part around. Cream never sounded thin. Do some walking - or play some octaves with the drums. 3 piece bands (or 3 musicians and a singer !) are the best fun for bassists. Enjoy it!

Aye, there are loads. Lived there for 10+ years and go back once a month. Go to rue victor massé in the 9th. There are many side streets and parallel streets off that street with music shops. Rue victor massé is one long street of specialist music shops, at least 2 bass guitar dedicated ones, others dedicated for pedals, left hand only, vintage, acoustic, and even pointy headstocks. Lots of small stores. Much better than London (where I live now) imo

I wondered if anyone else had seen this recently...

I've never understood the "not versatile" thing, there must be an example of one being used in every genre of music to good affect. I think there are players that have a fixed way of playing that are used to being able to adjust from front to back pickup along with the tone or EQ controls to get a variety of sounds, imo it's the player that lacks the versatility not the bass.

The Stingray was always my dream bass, ideally in translucent teal green or natural with maple neck. When the band I was in got a record deal in 1998, we negotiated an advance each to buy new gear. I asked for £5k and popped to the Bass Centre in Wapping and got me a 3EQ translucent teal green Stingray. I was so excited, it was gorgeous but my excitement was short lived. No matter what I did, it just never sounded good for me. Thin, twangy, buzzy and just horrible. I was playing guitar punk pop and it just never worked where a Precision or Jazz was right. I eventually sold it. A few years later, having not given up on the idea, I bought myself a lovely natural 3eq Stingray to use in a new band but again, despite coming close, I just couldn't get it to work tonally so I sold it. Now, 8 years ago, and still not prepared to give up on my dream bass, I got myself a 2eq translucent teal green Stingray from Tom1946 on here and she is a totally different beast. Way more versatile tonally than a 3eq and I totally love her. I still don't think I will be fully comfortable with the Stingray tone over a Precision or Jazz but the 2eq certainly is a lot closer and easier to dial in for me so for now I am happy.

Leave 20 quid or so in your budget for a decent sack-type trolley. Your back will thank you.

Hi everyone, I had some interest on this particular part of the forum before, so here is a quick note to let you know I have a new analysis on my Jamerson Analysed site. This time I take a look at an old favourite 'Darling Dear' by the Jackson Five. I breakdown the line, looking at his melodic and rhythmic decisions, before covering the track in a video at the end of the article. If you haven't visited the site already then take a look - there are a load of other Jamerson tracks broken down and analysed. Cheers! Chris. Article is here - http://www.jamersonanalysed.co.uk/2012/01/darling-dear-jackson-5-1970.html Or if you just want to watch the cover video then you can here - https://www.youtube.com/watch?v=5kg9_2teoA8

I'll be playing mine through my Super Twin on Saturday, that should double heaven!

ABM + Super Compact = heaven

Amazing and superb playing in the video. Probably one of my favourite bass lines ever. Thank you for sharing.

I was going to say on the original post that 'Chris May help you' but did not want to prejudice your opinion of him for a cheap joke!

Another surprise birthday present from Mrs. Baggins. Sounds really nice through my Acoustic Image set up but is also surprisingly loud acoustically. What I love about these Harley Bentons is that they allow you to try things conceptually without taking to many risks. I have all sorts of ideas for this instrument.

Si bought a Lakland bass from me. Perfectly easy sale, great comms and cool dude to boot! Enjoy mate 😁

The Bergs and VK's are coloured and are coloured differently to each other. The design parameters are not about being 'flat(ter) response'. The Big Baby II and Big Twin II are designed to attempt to iron the colour out. Colour is often seen as a negative trait and it can be for poorer speaker examples, but in the case of the likes of Bergantino I would say the colour isn't to detract from the natural sound of your instrument but to support it. There are for example some cabinets I have reviewed that were so coloured that all you could hear was the sound of the speakers being impressed on every note. One cabinet actually gave me a headache it was so bad. Another thing to help confuse matters is that some speaker cabinets don't seem to allow the voice of a different amplifier to come through as much as others. I suppose this is the same as the above but just coming from a different angle. An amp I played with recently seemed to make my speaker cabinets overly bright and unbalanced. I had to mess with the EQ to get everything to play ball, whereas my amplifier of choice is pretty much left with zero EQ on at all and I can play digital audio through it with smiles from me all day long. Something to think about I guess.

I had one of these years ago and, despite the high reputation and exorbitant price, I wasn't actually that impressed with it. More recently I needed the same effect again so I bought https://www.andertons.co.uk/fishman-fission-bass-pedal-pro-fsn-bas?LGWCODE=PROFSNBAS;56375;6335&gclid=CjwKCAjw14rbBRB3EiwAKeoG_zZAI2_khAMhHZUjIvSXjJzLqRdiI2DL4UjTcLu8CsKsHvb9WG-RWRoCY2QQAvD_BwE Still bloody expensive, but iMHO a better pedal.

Ok so versatile can mean different things to different people, of course! 😄 Treble back a quarter, mid at centre detente, bass up a quarter, 5-way switch in the middle (amp EQ generally flat, room depending) does it 99% of the time for pretty much every song in our set, as far as out front sound is concerned. Punches through out front and sounds full and clear for the rest of the band. Leave everything as is, flick the 5-way back towards the bridge for the classic MM single H honk (or faux Jazz bridge sound), or flick it full towards the neck for a very passable P bass with the tone at half. Roll the mids off, crank the bass a bit more and 5-way at neck position = very passable P with tone off. No other bass I’ve owned or currently own can do this as effectively in a live context. All in my opinion and experience of course. i love my Stingray! ❤️❤️

Unique Selling Point. I tried a Stingray HH out a few years ago, and it wasn’t half as versatile as I was expecting for a double humbucker bass. Still sounded good though obviously. If i was going to buy one, it would just be a classic natural/maple single humbucker one Si

The trouble is , is that all of the double Stingray pickup'd basses , all have the rear pickup way too far back - so not getting that 'Stingray sweetspot' . The only mainstream maker that I've seen 'dong it right' (subjective, I know) , is Warwick, with the Doublebuck

@operative451 I use the Zoom for mainly delay ,reverb and modulation. I prefer the EHX Epitome for an octave up, and OC 2 for octave down. I also prefer filter and synthy sounds from the SA Manta and Sonuus Wahoo. I find these alternatives to sound less 'artificial' than the zoom. I also like having two effects loops via the LS2, and that way always have the option of blending two quite different sounds E.G Octave down (OC2) with Fuzz (Fog) and filter sweeps (Wahoo) with second loop of Octave up with reverb (Epitome), filtered delay (Zoom) and Univibe (V Wah).

I must be weird or something -- I've been using 2 or 3 sets of Schaller straplocks since 1986 and have never, ever had a single problem with them. Even that first set from '86 are still going strong, they just look a bit scruffy that's all. Hardly surprising after 32 years of gigs

Yeah, my eldest (Ella) used to act odd if I was away gigging for prolonged periods. When I separated from her Mum I got access at weekends so quit music altogether. Once I was more sorted, I got back playing. (she escaped pretty much unscathed - and is excelling at school these days)

OK, obi 2 kenobi, what we really want to know is what exactly were you searching for to get this as a result ??? Traditional untainted German culture?............... Ahem..... Tight leather shorts????..........Cough............. Band vacancies in Bavaria ??????????????

This is me with my Gibson Thunderbird.

good evening all had a look at the lacquer today (impatient) and decided it was hard enough to work on so I put it back together, have a couple of issues like I cocked up the wiring, the tone is like another volume I must of put a wire wear it shouldn't be ill check it out later, I have to fit a black jack socket when it comes so ill check the wiring then. On the hole I am very pleased how it turned out sounds luvly with them flats on don't know about the tone lol,

I‘m sorry, I don‘t understand the question.

There is no way I'd ever be able to buy a Fodera so I'd be thrilled to win that. I'd keep it and gig the crap out of it.

Eww. just kidding!!

ha ha ha hahahahahahahaahahahahaha hahahahahahahahahahahahahahahaha hahahahahahahahahahahahahahahahahahahahahahahahahahahahahahaha Never.

The tolex will probably fall off fairly soon anyway

Both the bands I play in are 'on hiatus' for various reasons, giving me time to play around with effects - choices, signal path etc. As usual there are compromises - currently I can't switch the synth sounds in and out with one tap, but I've got maximum flexibility in terms of the drive part of the synth - Pork Loin/Gated Fuzz/Bitcrusher. The Manta is semi-benched, due to the size of the Moog. I can still run it off the board in the spare LS2 loop (i.e no rewiring required) and I need to get my head around all the options it offers first. It makes sense to exploit all the weirder filter options rather than try to beat the Moog at it's own game. MXR BCD is also off the the board since I add chorus directly to the Flashback via a tone-print and I don't tend to use chorus as a standalone effect. I still need to sort out the expression control to the bitcrusher but if I'm using the Manta, I still have the option to take the CV output from the Moog, so I can get control of three pedals from the SA Dual expression controller.

It`s a pity that the Behringher, Ampeg clone (bvt 4500) that was kicking about Thomman a while back isn`t available now for the crazy price it was. You could have stuck a power amp and pre in there no problem as the bottom section was empty and it looked like a Ampeg SVT. There are a few threads on it on this forum. I had one and sold it for £50. I should have kept a hold of it on reflection.