jrixn1

I have an RCF 732A and very happy. For me, it replaced a Genz Benz putting 500W into a Barefaced Big Baby 2. I feel the two setups are comparable; what I mean is that they are both clear, no compromise in the sound quality, and they can go louder than I need them to. Context here is doubling on 5-string electric and upright in a 12-piece function band, used as backline with no PA support. https://www.basschat.co.uk/topic/315455-interesting-frfr-story/?do=findComment&comment=3559638 I haven't tried the RCF 712A, which is one price point down, so unable to say what the difference of £250 makes. I did also have an HD10 (which as far as I can tell is pretty much the same as a 310A) for a bit. One alone was good - louder than a 10" has any right to be - but of course not as loud or deep as the 732A. For many/most of my gigs, it was fine - but it couldn't quite cut it for the most demanding ones. https://www.basschat.co.uk/topic/317870-rcf-hd-10-vs-barefaced-one10 So actually I had two HD10s at one point - using both together was really good. https://www.basschat.co.uk/topic/315455-interesting-frfr-story/?do=findComment&comment=3524836 In fact I'm not sure which sounded better in the end - two HD10s or one RCF732 - but for me one 732A is more convenient than two of anything since I only have two arms/hands to carry stuff with.

https://transferwise.com/

I've heard of (but never used myself) a "no load pot" which takes itself out of the circuit when fully open

In other words, you are thinking not in terms of literal chord letters, but instead the function of each chord and how it relates to the home key. That's the trickiest bit. The rest is then applying those changes in the singer's key. For the example above: the first line is just four bars of the root chord; the last line is just a 2-5-1; etc. In fact, I think like this even if I'm not transposing.

The above replies are all good. Suppose someone hands you a chart. Your eyes see this: || G | G | G | G | | Gm | Gm | Gm | Gm | | Am7b5 | D7b9 | Bm7b5 | E7b9 | | Am | D7 | G | G || But your brain needs to think like this: || I | I | I | I | | i | i | i | i | | ii7b5 | V7b9 | iii7b5 | VI7b9 | | ii | V7 | I | I ||

Check out this Eddie Gomez video, particularly the section starting about 31 minutes in, where he is switching between different right-hand techniques. https://www.youtube.com/watch?v=P0GC8kh0-2o

I don't have one but I it looks like Wunjo may do? https://www.wunjoguitars.com/product/aerodyne-jazz-bass/

Some good info in the replies in this thread. I'm the OP of the thread although the sales thread I saw in this particular case was @GILLY - but it could have been anyone really as many people on this forum buy expensive gear unseen, so in general it's good to understand what consumer rights apply in these situations. If Bass Direct's T&C are outdated I'd like to think it's due to inadvertence on their part, rather than anything more sinister. Anyway, if it was me, I'd push back on the 10% fee. It seems it's £108 which they have no claim to.

Actually, it was a dubious recommendation on my part, as I've never used one! I was originally going to say a more generic "two pre-amp pedals" but then thought the SpectraDrive might be the closest to your existing TC Electronics head. I really like the idea of one box which could do everything, with minimal cables. I have six cables at my feet currently with my EBS MicroBass 3... (two instrument cables, power cable, DI output to the desk, monitor input from the desk, in-ears output) Following this thread with interest for other people's solutions.

Two SpectraDrive pedals, a Boss LS-2, and any clean power amp?

Short version My question is: can a retailer charge a blanket fixed-percentage restocking fee for items being returned as unwanted? Longer version! The situation I read about in a recent sales thread ( https://www.basschat.co.uk/topic/348016-withdrawn/ ) was that a bass was bought online, then returned after seven days due to change of mind. The retailer however are charging a 10% restocking fee. I'm not a consumer rights expert by any means, but my layperson understanding is that when returning an item bought online/on the phone, generally no 'restocking fee' can be charged. Quoting from 'Consumer Contracts Regulations' (my emphasis added) http://www.legislation.gov.uk/uksi/2013/3134/regulation/34/made FWIW I recently returned an item to PMT and there was no restocking fee; and to Thomann, where not only was there no restocking fee but they even covered the return postage back to Germany (this is their own generous policy, over and above statutory requirements) So in this instance, the retailer in question cannot charge a blanket 10% on all returns. I think they only thing they could do is examine the bass after it's been received back and point out there is now a scratch etc where there wasn't one before, and recover that amount. Is my interpretation correct, and has anyone pushed back on a blanket restocking fee from any retailer and what was the outcome?

I thought maybe so - but this is the EUB and Double Bass forum...

Roundwounds... What instrument was this on?

This link seems to work: https://www.youtube.com/watch?v=VxMfgK_6tG4 Bass sounds good but the guitarist is standing in the way most of the time blocking my view of that nice bass.

I don't think there is a standard approach. For example, a Genz Benz works in exactly the way you have described; but a Markbass effects loop is in parallel, with a fixed 50/50 blend.

Geoff bought an item from me. We met in person to transact, and he was prompt (early, in fact), had a small chat, no problems at all. Nice to meet you Geoff and all the best.

There is this thread currently in General Discussion

Send/return might be in parallel to allow you to blend your external effects with the dry signal.

Mic-level input is correct. Apologies if this is covering ground you already know but is the PA mixer gain set ok? There's more than one way to do it, but perhaps the easiest way to get to a good starting point is: Put pedal into bypass for now (this reduces the number of variables while you're just trying to get a correct signal to the mixer) Connect pedal to a mic-level input on the mixer (almost certainly an XLR input) Set that channel's gain to its minimum (normally a knob right next to the XLR input socket - turn it all the way anti-clockwise) Set channel volume (normally a large slider) to "0db", which isn't at the bottom of the slider, but near the top of the range. It will be marked. While playing the bass, increase the gain knob (from step 3) until the bass comes out at the correct volume. If that sounds ok (ie the basic sound of your bass) but when you engage the pedal it sounds wrong (or considerably louder), then it means the PA is probably set correctly but maybe the pedal knob settings now need adjusting.

Parallel is correct. It's perhaps unintuitive, but both the following wirings are equivalent (both are parallel). I.e. this: cable #1 from head to Orange 212 cable #2 from head to 151P Traveller is the same wiring as: cable #1 from head to Orange 212 cable #2 from Orange 212 to 151P Traveller The first has a slight redundancy advantage in that if one speaker/cable/output developed a fault, the other would continue to work. It's rare to want to wire speakers in series; if you really wanted to do that, you'd need some extra hardware between the amp and cabs.

What do you mean by a "jazz bass" - the body shape? How about a TRBX204?

In reply to the poll, I'd say the guitarist in our band would be fine reading that chart on the fly. But then again I'm equally sure the band leader would only book a reading dep. So if it's your band you're arranging for, in theory it should never be an issue. One thing perhaps worth mentioning, which our arranger has tripped up on very occasionally, is writing clusters which are easy on keys, but impossible for the guitarist to finger, however good his reading is!

If it's in F, the key signature shouldn't have three flats... ?