Wil

I think I have Largo's old 410L. It's certainly more than enough volume for pretty much anything I've ever been faced with - with a decent power amp pushing it I've played outdoors with no PA support and it's really delivered the goods. It's a one man lift but I wouldnt want to carry it any great distance - the trip from the van to the rehearsal space (up a set of stairs) is enough to totally knacker me out carrying it, but it's possible... It handles a low B with lots of low end like no other cab I've used too. I'm intrigued now by the compact though, if it really can compete with a 410L I'd be impressed.

I do, probably more than I play bass when I'm at home. I find it to be an invaluable tool for writing music. I have a Norman B18 acoustic which is absolutely stonking for the dosh, I dont see myself ever selling it. Beautiful warm tone.

[quote name='skej21' post='1200523' date='Apr 15 2011, 12:07 PM']...another view Life's too short to spend half of every rehearsal working out what the guitarist is doing AND rehearsing the music (particularly if you're being paid for it, because you're doing twice the work you should be!)[/quote] It really depends on how the songs are written in the first place. We'll tend to start with an idea someone has brought to the table, who will play it to the group, and we'll finish the song by jamming it out and making changes as ideas come to us - the jamming is part of why we play in the first place, it's fun!

[quote name='Bilbo' post='1200503' date='Apr 15 2011, 11:50 AM']That's not what I meant (although readers do save a LOT of time - did a session yesterday and, in 4 hours, we recorded 5 arrangments of tunes I didn't know)). Not even knowing what chords you are playing is a rare inadequacy nowadays and one I won't indulge.[/quote] Ah, sorry, I misunderstood. That's a bit rarer I must admit.

As much as Bilbo will claim otherwise, in 10 years of playing in various originals bands I've not met a single reader of music.

I'd say it's the norm for originals bands. Good ears help a lot.

A friend of mine who is a big Tool fan apparently gets a very good approximation of the Tool sound with a G&L L2000. I guess the pickup configuration is in the Wal ballpark.

If you set it correctly, as far as I understand compression, it'll reduce the volume of the louder notes, enabling you to bring up the volume of the signal as a whole which will bring out the weaker harmonics.

A compressor would be a good start.

I had a Cube 30 and I wish I'd never sold it. Stonking sounding little box.

Band of Horses - Infinate Arms. Not bad at all.

Thanks for the responses - it makes sense that using the basses' EQ and leaving the amp flat at least offers the flexibility of adjustment on the fly. I'll try working that way next time we're in the practice space.

Whenever I'm in the practice room I am faced with a quandry - should I utilise the active EQ built into my bass to shape my sound, or set everything flat and leave the EQing to my Sansamp? More often than not I find myself leaving the basses' EQ alone entirely and using the amp, but am I missing a trick? Is there any advantage to using more than one EQ stage?

After each purchase I normally convince myself I'm GAS free, but I'd be foolish to think it will last... currently drooling over nice light amps.

I had a 2003/4 MIM P. It was... ok. It lacked a bit of bottom and in terms of fit and finish, it really wasnt up to the build quality of a '99 Standard US Jazz I owned shortly afterwards. Not by a long shot. For around £350 new at the time though, it was perfectly acceptable.

I've played a 5 in my band for a year or so due to the drop tuning they use, however I've recently sold it and purchased a 4 string which I've strung up BEAD. It works absolutely fine after a decent setup (including filing the nut slots a touch). I never really use the dusty end of the G string so I'm not really missing anything, but the thinner neck is heaven after playing a 5 for so long. I say go for it. Use a 5 string set and discard the G.

So are these the pre section from the RH but with a non class D output transformer?

In before someone says Moondance.

That Ric is a real looker. Oli did a nice job on that plate. Like the Jazz a lot too, classy colours those.

Lakland Decade?

I find in a band context I use the G so infrequently, my only bass is now strung BEAD. Far more useful for me. I can still hit plenty of the notes I'd otherwise play on the G by playing further up the neck, but find having the B there gives me more practical note choices.

Make sure you get some pics up! Opening up a hardcase to find a new Status is a very exciting thing, from my own recollection

This is fantastic. How does it sound compared to how it was? I remember my Cube 30 being a great sounding little unit with the Roland amp in it, but unsure how much of that was down to the box.