barkin

No experience of the 5-ers, but I've played both the 424 and 1024. I'd been umming and aahing over a BB424 for a while, been into some shops and tried 'em, and thought they were great - especially given the price. But when I picked up a 1024 it just felt like an altogether better instrument...but for reasons that I couldn't quite put my finger on. I think the 10xx has slightly different hardware - bridge/saddles, possibly tuners...can't remember - and the nickel nut and spline jointed body, and different pickups. No big deal individually perhaps, but it somehow it all adds up to make the whole thing feel more "alive" and responsive. Soundwise...to me, the 1024 is more rounded and smoother - still a Rock Monster, but whereas the 424 could be a bit shouty and spikey at times, digging in and heavy pick playing with the 1024 can keep the in-your-face aggressiveness but with a bit more weight and authority. Don't get me wrong - I'm not knocking the 424 - I think they're fantastic, and I'm thinking seriously about getting one. The individual differences aren't great, but ISTM that a number of small improvements add up to the 1024 being an instrument that's overall quite a big step up. The 5-ers could be altogether different though...

[quote name='tom1946' timestamp='1410701782' post='2552059'] We take a Marshall AS50r acoustic amp for her 12 string guitar and although it does have an input for a mike as well it's not very loud unless it's bordering on feedback when she is speaking only. So: [/quote] Would it be loud enough, but for the feedback ? If so, maybe look at speaker/mic position instead of spending money?

Yeah - that'll do the job I'm looking at the Hipshot ones as I've just got a BB1024 (which is awesome ) which has a 3-string retainer. The A & G string arrangement is the same as the Hipshot one, but the D string is threaded through a hole in the retainer...which looks like it'll be a bit of a faff changing strings.

Played Balstock the last 3 years - great fun. Going along for a few beers later, and catch some other bands for a change this year - The Bleach Boys at The Boot later...wey-hey

[quote name='SmallDawg' timestamp='1410631088' post='2551488'] I've used a 2500 combo before and it sounded really good [/quote] I've an HA2500 head that I'll probably be shifting in a couple of weeks...

I like the look of [url="http://www.bassdirect.co.uk/bass_guitar_specialists/Hipshot,_Knobs.html"]these[/url]

Whereabouts in Cambs are you? I've a couple of amps here you could borrow.

Tesco everyday value black nylon holdall.

http://www.ivormairants.co.uk/guitar-and-bass/bass-guitars/vintage-v90car-bass-candy-apple-red.html

(seems there's 3 feedback threads for ozzy138, but this one seems most active most recently, so...) Just got a Yam BB from Dave. Great comms while we were sorting things out and, having met face-to-face to conclude the deal, I'd have no hesitation in dealing with him again. Cheers Dave - dead chuffed with it

[quote name='gafbass02' timestamp='1409879109' post='2544322'] Another vote for legacy here. Great strings. [/quote] [quote name='Evil Undead' timestamp='1409902053' post='2544381'] Are they really on a par with Rotosound? I've heard really mixed reviews about them, some glowing of course but some have said that they dull quickly and are really high tension. Would be great to have a mini review from a couple of users. [/quote] Not really a review, but... I don't like super-twangy, bright sounding strings. I like the sound of rounds, but after that initial "boing" has gone. I find, as others have noted, that Roto's do indeed lose their newness pretty quickly. But I also find that once that happens, they pretty much stay in that same place for ages, which is great for me as that's what I like. I switched to Legacy after seeing it suggested that they're repackaged Roto's. Whether that's true, I've no idea. To me they seem to have pretty much the same characteristics as Roto's, but at half the price. The only other strings I've tried recently were a set of Ernie Ball Slinky something-or-other. Second rehearsal, the D string broke...first time I've had that in 20-odd years. I've just picked up a BB1024 with a 3-4 week old set of d'Addario Pro Steels on it. They definitely seem to have more "boing" to them (see, I know all the techie terms) than my usual Roto/Legacy's would have after 3-4 weeks, but that could be down to the bass rather than the strings, and it'll be interesting to see how they fare from here. Dunno if that helps...

[quote name='Baceface' timestamp='1409865140' post='2544212'] Oooh eck. First proper post and I make a complete arse of myself. [/quote] Not at all. Sorry, I didn't mean to suggest that. It's just that I've been spending some time on the Yamaha website myself the last few days, and happened to notice it

[quote name='lefrash' timestamp='1409857294' post='2544102'] My mate came down the aisle to one of his tunes. [/quote] Crumbs, that good!

This is a FAQ in the Yamaha web site ---x--- What Size Strings Originally Came on my Yamaha Bass Guitar? Back to the list Go to Product Information Last Update: 06/22/2012 Yamaha basses are supplied with a standard .105 to .045 set Specific sizes are: E .105 A .080 D .065 G .045 ---x---

I'm no expert...far from it, but... Yup - definitely speakers behind the mics. In an emergency (drummer forgot to put the monitors in his car...!) I've used a line out from the EMX into a guitar combo as a monitor. Sounds a bit Heath robinson, but better than nothing. At least vox could hear something. You might find that you can get more volume, before feedback, if you don't use the compressors on the inputs, or at least keep them turned well down. For EQ, I start with everything on the inputs at 12 o'clock and the graphic flat, then get the desired EQ on the individual channels by cutting what I don't want, rather than boosting the rest. Once the individual channels are set up (EQ & relative volume. I keep the channel gains as low as possible) I go louder than we need on the master. If I get feedback, cut the individual sliders right down on the graphic, one at a time, to find the offending band/s. Then up it again on the graphic until it's almost feeding back, but not quite, then bring the master volume down to where it'll be when we're playing. If I've done this and the vocals aren't loud enough (not often a problem in the places I play) then tough. The backline has to turn down to suit. If the vocals can't be heard, or the audience is in pain due to feedback, you might as well not bother turning up, IMO. Hope that makes sense. I'm no expert (far from it. Just the one who, like you, seems to have landed the role of soundman because I actually care about what we sound like) but it works for me...although we usually only have 2 x vox, and sometimes a bit of kick, going through the PA, so my situation is a bit more straightforward than yours.

Had a Jazz for a bit. Thought it very good, all things considered.

Sold Dave a pedal, in a highly satisfactory deal that was concluded in double quick time, and with speedy payment - despite my best efforts to spoil that by giving him the wrong bank details... Despite my idiocy, he was understanding and friendly throughout, and top-notch on the comms front. Deal with confidence.

(Just seen your other thread) Although it's always on, I don't even notice it. Plugged in at home, it's quieter than the cat purring.

Mine runs all of the time.

Me, I'd stretch the budget a bit and grab the BF S12 from the 'for sale' section here. But that's just me...

...plus $9 delivery, plus 22% Happy user of the Legacy nickel rounds from stringsdirect here.

Or go to [url="http://www.duncanamps.com/technical/impedance.html"]http://www.duncanamps.com/technical/impedance.html[/url] and download the Excel spreadsheet if you want something to use offline.