Ed_S

For me, it was Rick Savage from Def Leppard. I wouldn't say he was an 'idol', but I watched their '93 live video filmed at Don Valley Stadium and just knew I wanted to get myself a bass.

[quote name='stingrayPete1977' timestamp='1339016849' post='1682619'] I've had a better sound from most mag's than I did my old evo rig you know! [/quote] Tis true.. I've borrowed a couple of MAGs and found them to sound more edgy and lively (and hence pleasing) than the ABM500 I had. Get it cranked up and annoy some neighbours!

[quote name='Monckyman' timestamp='1338814591' post='1679546'] I like the BDI21 BUT, it has stopped accepting mains power, and is battery only.So I no longer use it. As to the modelling versus the DI sound, 99.9.9999.9 sound engineers will prefer the unadorned sound of the DI. Not because ,as [b]the bitter bassist of the previous page[/b] suggested, "so they can completely ignore your wishes" regarding tone etc, but simply because having a modeller with an EQ tone that doesn`t suit the house P.A at all is not helpful to anyone. However, in your case where you are basically looking for a back up amp like device which can utilise your P.A rather than a DI as such, the BDI21 would be the cheapest and most versatile option. [/quote] I'm almost tempted to have that as my member title! My 'bitterness', if you want to call it that, stems from the number of engineers who've ridden roughshod over my intended tone. Sadly, if they're intent on meddling, a processed DI just means that they'll have to employ even harsher EQ etc. to get it back how they want it, hence I always give a clean DI these days because I'll take 'wrong' over 'butchered'.

[quote name='Evil Undead' timestamp='1338632903' post='1677374'] Ed_S thanks for the reply. I hadn't seen that one before but looks interesting. Are you able to tell me how I would connect it up (yes, again, I really am this clueless!) Bass in which socket, and which socket out to the mixer? [/quote] Sure thing.. most basic setup is to just the left-hand side of the unit as you look at it: bass goes into the CH.1 IN, and the XLR to the desk goes into CH.1 OUT. If you wanna use it for two instruments (your bass and the singer's acoustic guitar or whatever), then set it to 2-CH on the MODE switch and plug the second instrument into CH.2 IN, with another XLR to the desk out of CH.2 OUT. If you wanna use it for one instrument with a feed to the desk and an amp on stage then set the MODE to LINK, bass into CH.1 IN, XLR to the desk out of CH.1 OUT, then use either (or both) of the right-hand jack/XLR to feed to your amp or anything else that takes your fancy. [quote name='Beer of the Bass' timestamp='1338633561' post='1677382'] A friend of mine uses the DI20s when doing sound, and personally I don't like them very much. The switch arrangement for the link output can cause confusion on a dark stage and the ground lift doesn't seem to work in the expected way. We had ground loop hum using a DI20 which wouldn't go away even with the ground lift on, but dissapeared once we changed to a Samson DI and lifted the ground. I carry an old BSS AR116 myself, but I know sound guys will usually prefer to stick with their own boxes as that's one less variable for them. [/quote] Interesting... I can't say I've ever had that problem with mine, but then I can't say with any certainty that I've ever tried to use it to solve a ground loop problem...

For emergency use, I'd go for a basic DI without modelling and let the desk do its job. After all, as soon as you've given a sound engineer a feed to play with, they'll try to make it sound how they want irrespective of your wishes (especially so if you're on stage, mid-set with a knackered amp and hence unable to argue) so you might as well make it a clean feed. The DI100 is fine, but the DI20 is a couple of quid cheaper, lighter, smaller, still takes phantom power or a 9v battery, still metal cased, links out on both XLR and 1/4" jack when used as a splitter and is capable of stereo / dual mono when you don't need to link out. Very handy little box!

How often do you rehearse? We do 3 hours every weekend (just because we like to, rather than need to) and I can't ever see us not knowing the right tempo to stick to; the songs are ours to begin with and they're just too well rehearsed. I could imagine, however, that if you were in a more 'everybody learn their parts at home and turn up to the gig prepared' kind of covers/function band, it might be handy to ensure everybody was going at the same pace that they'd learned the songs at.

Perhaps a little overkill - even if you're dead set on the LM Tube, I'm fairly sure that the 500W version into just one 4x10 (104HF probably your best bet) would be plenty loud enough. That said, if the money's burning a hole and it'll make you happy to own the rig you've spec'd, go for it!

Nah, sorry, can't agree. I'm very happy with mine... ...especially with the thumb rest removed and a Badass II fitted! See, if you don't like the black blocks, I figured you'd be looking at the stock photo and thinking "the only thing that could make that worse is if he'd stuck one of those pointless bridges on it", and yeah, I did it

[quote name='phatbass787' timestamp='1337788280' post='1665500'] Considering the amount of extra features and that they are making them in the [b]UK custom shop vs[/b] the OTB [b]made in china[/b] i think the price is actually really good. [/quote] I stopped worrying about things like that a long time ago. If it's survived travelling sea-freight and doesn't drop dead during the first few tens of hours of use (wherein you can easily get it swapped out under warranty) then it's probably going to last a length of time commensurate to the level of care shown to it during its service life, irrespective of what it is and where it was made.

I use Steve Clayton - Acetal Polymer 1.26mm. Our lead guitarist uses the same (as do I when I'm on guitar) so we get them by the 100, custom printed with the band logo. I used Tortex for years, but I like a pick to feel 'newish' and was always disappointed with just how fast they wore out, especially on guitar. No such problem with the Claytons - I might kill one a month if I'm really going at it and playing a fair bit of guitar as well as bass.

[quote name='Teobass88' timestamp='1337713529' post='1664458'] Yep, I think tha it has a very plastic sound...even with really good cab MarkBass heads (I can talk about LM and SD) are still compressed and absolutely without dynamic. I know that many great artists use MarkBass in many different kind of music (From Caròn til Orion) but these bad features make, in my opinion obviously, the sound of these amp's only suitable for Pop Music. [/quote] That's certainly not my experience of playing metal (Iced Earth / Arch Enemy type stuff) through my LMII and 104HR. Out of interest, is there a particular amp you favour? Might help those of us who like our Markbass rigs for heavier music to put your opinion on their gear into context. Oh, and totally OT, as a metal fan from Italy, I don't suppose you know what happened to a band called Warchild?

[quote name='cameltoe' timestamp='1337711184' post='1664413'] 4 ohms is always good with the Terror! [/quote] My only thought was that if you found a 1x10 or 1x12 that you liked the sound of and then fancied doubling up to get more of the same in a modular package, making your first cab a 4ohm would be limiting, particularly needlessly so given that the OTB is switchable. All that said, I have 3x 4ohm cabs (112, 212 and 410) because I'm 99.something% sure that I've picked the right cabs to only need one for any given purpose, so you know, please don't think I'm saying you're wrong to go for the 4

If you did want to keep things small, maybe have a look at the Eden EX110. Same money as the Ashdown mi10 but claims to have a bit more power handling and is available in 8ohm as well as 4, if that makes any odds to you.

[quote name='Jam' timestamp='1337467334' post='1660609'] Guitar: Intermediate, Vocals: Lead, Bass: Expert. [/quote] Are you sure he's not just telling you how far he's got playing Rock Band on his Playstation?

[quote name='BigRedX' timestamp='1337252893' post='1657799'] My attitude now is that I won't plug my amp into unknown speakers and similarly I won't allow anyone to use their amp with my cabs. You can use my whole rig if you ask in advance or bring your own instead. [/quote] [quote name='chris_b' timestamp='1337334897' post='1658245'] A cab is far easier to break than an amp. What is there to break on an amp even if you turn it up to 11? A cab on the other hand can blow speakers at the drop of a hat if misused. [/quote] These. All or nothing, and only if agreed in advance.

Heh, yeah, I could see it being a bit of a beast, but given the main drive behind me getting one in the first place was Alex describing it (in context, of course) as "spectacular overkill", I'm not one to shy away from these things! I don't have anything that goes down to 2 ohms, but I do have a power amp that would sling 500W into each at 4 ohms linked-mono. At present I'm limited to throwing all 1550W bridged into just the one cab... ...but don't worry, there's a micro-thumpinator hidden in the back of the rack - wouldn't want to risk wasting any power!

Has anybody got any experience of stacking Barefaced Super Twelves? Just wondering if they play nicely given the top handle and rear wheels. And yeah, it'd be overkill, but I can't help wondering what sticking an S12T on top of my current S12 would provide. Aside from the physical effects of fear in my bandmates.

Another lightweight-and-versatile would be the Crown XLS 'Drivecore' 2500. I have a 1500 which is a nice, solid bit of kit, so assume the 2500 would be likewise. Bought from these guys: http://www.sound4.co.uk/products/Crown-XLS-2500-DSP-Amplifier.html and found price / service to be good.

I hear whole songs. I remember guitar solos and I take cues and song structure from the lyrics, but I've never been particularly fond of 'deconstructing' songs to find the exact constituent bits because it always ruins something for me; I always find a bit that I don't like but didn't notice before, but will now hear every time. In terms of playing other people's songs, if I listen to the end result and it matches up to the fond memory of the whole, then it's good... sometimes better!

Looks interesting, if a little ambitiously priced. Be interesting to get it alongside an OTB1000 to see if it's worth the extra 400 quid.

I'd be headed for RoqSolid (amplifiercoversonline.com) if I were you. If you tick the option for 'dust cover only' they leave the felt padding out, meaning you have a good, strong, water resistant cover that folds down easily at gigs.

[url="http://www.maplin.co.uk/multi-purpose-non-slip-mat-217606"]This stuff[/url] from Maplins is great - I use it for just that purpose with my LMII and OTB and it does the job perfectly. You get loads of it on the roll and provided you get the black rather than the yellow, nobody will notice it's there.

Played a relatively new venue (converted pub) last night, and rocked in to find that the PA was just two 15" tops on stands and the monitors weren't working. The aforementioned tops were also screwed; farting and distorting their way through the first band's set, especially during kick/bass-heavy sections. Knowing we were a much more aggressive sound with an extra guitar, it was nice to be able to tell the 'sound guy' to keep the bass out of the PA and clean up the mix as much as possible. In the event, it couldn't sound anything other than disappointing, but at least the bass was clear, which in turn kept the lead vocals in tune. Wouldn't have been possible with anything other than a proper rig with the right sound and some power behind it.

Dunno about the product code, but if we're talking about the Classic series P in white/maple with black blocks, I know mine has 'Made in Japan' written all over it...

I've got the white 70s P - it's one of my two current main gigging basses. Personally I was sold on it as soon as I clapped eyes on it, so it's quite fortunate that it's a great instrument given that I had no choice but to buy it There's a 'however', however, which on mine was the bridge - it worked fine, but was a really poor-looking piece of work. I have nothing against the BBOT, but I at least expect the baseplate to be straight and thus flat to the body. So I stripped that off and stuck a Badass II on there, which made no difference to the sound, but I think makes for a good, stable bridge and an aesthetic improvement. I tried a couple of American Specials when they came out, and I just thought they felt like good examples of 2009 MIMs - nice necks, but not worth the extra cash.