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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?

If you were allowed to keep just one pedal (excluding multi-fxs) on your board, what would it be and why? For me (right now!) it would be my SA Manta. It's not my 'favourite' pedal, or the most expensive, or even the one I'm likely to use the most; but as a filter pedal I'm not sure there is anything comparable or as versatile out there for the money. Not really looking for generic pedal types (e.g. a tuner or compressor) - what I'm really interested in is which pedal on your board delivers that something special that few alternative pedals that are likely to come close for you, but also what it is delivering to make it special? PS Please feel free to post clips of your irreplaceable pedal on your 'fav' settings played through your 'goto' rig. WARNING! This thread may result in pedal GAS

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.

How's about a forum for various parts of a curry menu ...chicken chat chat I'll get my coat then ....

Another dep with a band wot I've been depping with. Nice lads, and they play all the songs I grew up listening to, so it's nice to finally play them. I've done four or five with them now, so I'm getting confident enough to chip in with BVs now, too. Here's a clip of Cinnamon Girl:

Thanks for all the replies on the thread! I decided to go for Bagsie Blue's Gallien Krueger MB800 that was up for sale in the for sale section, seemed a good price and worth a try! Well!! You guys were not wrong about GK heads! The presence and authority in the tone is a definite step up. Not an amp for the shy retiring type! Had to dial the treble back SO much at a gig on Friday in Oxford. I had the horn's on my 2x Vanderkley MNT210's dialled back to almost off and the treble cut slightly on my Modulus Flea and it was still a very bright sound. However, that massive grunty bottom end and sheer 'quickness' of the notes was extremely pleasing to the ear. I was also getting a 'slight' bit of overdrive at fairly low gain settings, which confused me a bit, it could just be the Bartolini preamp / Lane Poor combo driving the input stage too hard. (I haven't tried the -10db cut switch but i'd imagine it would clean it up) However, I'd imagine this in conjunction with a quality compressor would get me where I want to be.

https://www.guitarfetish.com/MODboards_c_30.html

That's my Gibson Custom Shop ES- 335 in Vintage Faded Cherry with Vanilla Binding. Blue

You deserve a medal for listening that far. Took one for the team there. and how many keyboards can one band need?

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.

By car, learned to drive as soon as the law allowed so I could get my music gear around.

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.

When you start a post with a comment about carrying drums in a frog eye sprite , it's probably only dads bond bug that can beat it i have always had access to vans , boring , but historically accurate , and very convenient to boot

Always thought he was one of the better rappers, rather than talk about girls, guns & gangs, it was empowerment & education.

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

Actually in addition to tuning... playing bits of the next song or rehearsing audibly shouldn't happen when the audience is there.

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.

Scared to post this but here goes ...

Oh yes! I've just done the same to my white Precision fretless... I like it

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.

+1^^ I've just spent an afternoon A/B ing 3 high end rigs and the Mesa M6 is still the winner for me. The combination of the rich harmonics delivered by its 12Ax7 valve preamp with an excellent 600W Mosfet power amp makes it add real sparkle to your bass tone. Oops I've just read back through this thread and I'm definitely sounding like a stuck record on the Mesa M6 - must stop being so enthusiastic about this head!! If mine wasn't part of an 80lb combo it would be bass heaven, but with that weight sadly it's just not practical for gigging...

6??? That’s impossible surely Tom?

Outdated information. Thanks for the heads up. I'll correct it to 33" For the following reasons : 1. It allows better placement of the bridge, while still using the same body as the CHB-1. The 34" had the bridge pushed back towards the tailpiece more than I was comfortable with. 2. 33" feels comfortable and familiar if you play 34", but still leaves the strings under slightly less tension for good semi-hollow bass tone 3. No tippy-tippy neck dive. 4. Nobody else makes them at 33". Nice to do something different.

I've always loved the tight,authoritative low end and grinding, biting top end 80's/90's rock tones of bassists like Eddie Jackson (Queensryche), Rachel Bolan (Skid Row), Kip Winger (Winger), Bruno Ravel (Danger Danger), Pat Badger (Extreme) etc etc. What did they have in common? The classic EMG P/J loaded Spector NS2 bass.... Having found one at the old Bass Centre in Wapping (the good ol' days) and LOVED the sound, feel, and look I then purchased various Spector basses! I was almost there, but there was still something not quite right (playing through Trace Elliot, Peavey, Ampeg, Ashdown etc) in my quest for the exact tone I was looking for.... The missing puzzle piece turned out to be the classic Gallien Krueger 400RB/800RB series heads from that period...... A friend invited me to try my Spector through his 800RB and the quest was complete!! So, to summise..... Active EMG p/J loaded Spector (with roundwounds) through old GK400RB or 800RB head and a suitable full range cab (in my case - currently a GenzBenz 2x12 Neo). Add in a little extra grit when needed from my Tech21 Dug DP3X pedal and I have aural bliss!

Backing Tracks being used in live performances. I just really cannot stand that.

See what you have done? It's all your fault! !!!

I have to second this - It's so frustrating to have to ask location on pretty much every thread. Could do with a flag or something as well, as I'd prefer not to buy from overseas, but I can't be the only one.