bertbass

I have subscribed to the mag, I don't like a lot of what's in it. I don't like the interviews much and I never look at the tutorial pages. I do like the news items, editorial, Alex's fine columns and most of all the gear reviews and I prefer the amp to the bass reviews but it is the only dedicated bass mag that we've got and I'd rather buy it with all it's imperfections than to not have it all. With Joel at the helm it can only get better.

Yes, I did like the Hiwatt best and I do have a Mywatt 200. Superb amp, love it to bits, it's just like, well, a Hiwatt only cheaper.

Just been over to talkbass and found an interesting thread about valve amp comparisons. here's the youtube link, [media]http://www.youtube.com/watch?v=erSHiJeG8JM[/media] and heres a link to the talkbass thread, [url="http://www.talkbass.com/forum/f15/heads-up-tube-amp-comparison-6-amps-898389/."]http://www.talkbass....6-amps-898389/.[/url] I love this sort of thing.

[quote name='chris_b' timestamp='1341999535' post='1727592'] Not really. The 412 cabs were mostly non ported and didn't put out much low bass. There were no 5 string basses, only passive electrics and most players played up the neck. The bass would cave your chest in but wouldn’t really flap your trousers. The overriding bass sound at the time was mids. I know it’s a generalisation but this sums up the bass sound of live bands that I was seeing in the clubs at the time [font=Arial][size=2][/size][/font] [/quote] Actually I have to disagree. If my bass sounded like that in the 60s / 70s I'd have thought that there was something seriously wrong. Sound City bass cabs were ported, they had a slot in the back. I get the same sound now as I did then except instead of using 4x12s I'd use 4 or 8x10s. I'm sure that if bass amps of the day only had one sound which was just mids then they wouldn't be sought after today and they wouldn't still be making them, Hiwatt, Marshall, Orange, Matamp, Reeves, Mywatt to name just a few. Sorry again, but I never knew any bass players that played up the neck and passive basses are still pretty popular. Precision or Jass any one?

You could use mic splitters, this would give you 2 outputs from each mic. 1 output of each mic to the main desk and the other to your monitors. You could use just a y-cable to a load of these, http://www.studiospares.com/splitter-combiners/studiospares-red506-microphone-splitter/invt/458250/?htxt=%2FUvRjc0xAaKk26JwgsxcsV6E2gjpK53ITJCPcypNRrR6jhjYX3SDlEUFWaOdTpLU0xVcTayKYYOc%0Aw4t9gBa9qg%3D%3D, or even some of these, http://www.behringer.com/en/Products/MX882.aspx.

I used a pair of matching Sound City 4x12s with the Sound city 200 head I had in the early 70s.

I'm impressed, I wonder what his playing's like in the bedroom?

+1 for a great suggestion.

Baredfaced 69er.

That must be the WMC where most of the audience leave after the bingo leaving you playing to the 25 audience that actually want to see the band. Know it well.

I'd love one too if they were long scale, easily converted to left handed.

Saw a red Jaguar with white scratch plate on TV once, beautiful and a great sound, try getting a left handed on though.

Always carry 2 stands with me main bass and spare and always make sure there's enough room for them.

That is a seriously interesting video.

I disagree!

He wasn't a drummer in a former life was he?

Hi Joel, I'd love to see reviews of old gear, amps, speakers, etc., that have stood the test of time compared with new 'Super' gear. I bet there would be a few surprises. After the pile of sh*t I paid £220 in 1972 that went under the guise of a Fender Precision, I proudly fly the 'No Fender Here' flag as well.

You're so vain, Carly Simon. Flames, Elmer Gantry's Velvet Opera.

You're not alone.

E

Only too glad to help.

I'm now 60 and I'm not at that age yet. For me it's the sound that's important.

I use the MG206C, the same but without the digital F/X. I use AUX 1 for the drummers foldback and AUX 2 for the guitarists and my foldback, both pre-eq. AUX 3 is for the F/X send which I feed back through a normal channel, Works very well. You'd use the sub groups for things like a drum mix, set the volume of the individual drum mics with the channel faders and then route it to a sub group, say 1, and then use that for overall drum volume then route that to the main outputs. One fader instead of a lot. Sound more complicated than it is.

There should only be one patch cable going between the pedals but you already know that.