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Just remember the I instructions above about turning it on when holding down the buttons, you need BOTH lights to be flashing to edit.

I'd also highly recommend the bass centre john entwistle bass. Really was a superb bass that. I dont know how or why but it was better built, felt better and sounded better than other bass centre basses I've had.

I'm now on the mld amp and svt 8x10. Gigged with it, sounded great. Big and heavy sound like an svt, complete contrast to the starfire and trace - which shows its versatility.

Take the financial loss and buy the one you want, then sell the one you dont. Take the financial hit, you'll not notice it as you'll be so happy with the new one.

I'm not sure, doesnt he play the fender version, rather than the squire?

Got to admit theres some strange choices when it comes to signature basses. Youd think theyd have to be completely unique to warrant one - like the Bootsy star bass. Plus, I dont see it being a signature bass if the artist then doesnt play them, seems a bit of a swizz. But, for balance I had the fender flea jazz which was odd as it was a replica of a jazz flea owned, not really played, but it's the best bass I've ever owned. Then I suppose theres marcus miller putting his name and effort into Sire. I'd love to see a high end name, like a real big name, get a signature from a real cheap brand so their fans could own one, and then play it live in front of them, thatd be cool.

I just used to set the abm iv comp at around 9 o'clock and it worked really well.

I had the fusion s 800. It was a very light, very good sounding amp. It really cut through any mix. The controls were a bit daft and not that easy to suss out, but they're good amps. They just kinda work no matter what you do.

There will no doubt be a pedal to emulate feedback somewhere nowadays.

That was a big difference - I'd tried in ears before but with amps on stage, so I'd put the items right in and not only had a terrible mush monitor mix, but I felt isolated from everyone in the room. This time the stage was that clear sounding, I used the iems not quite fully in, so I had a good feel of the room too.

Yep, if a drummer even went digital drums, you could play anywhere really. No acoustic noise.

We were quite lucky that we have a keyboardist and they seem more receptive than guitarists in going in ears. Then the guitarist bought a helix, then the other one did, so it seemed a natural progression. We started plugging into the practice rooms pa rather than using the supplied amps and decided to give the whole thing a try. No resistance, a bit of hesitancy, but we'll be fully on it at every gig soon. Drum wise all we did is supply the drummer with a small wedge monitor from the thru on the pa so he had a full house mix and he was very happy.

So, after 30 years of gigging with an amp behind me and blaring guitars and monitors everywhere etc last night I did my first ampless gig. None of us used amps (x2 guitars, x1 keys and me on bass) so the only noise apart from the pa was the drums. We used in ears with our own mix. It really was great. No need to worry about a bad mix or not hearing anything. However, the main revelation which should have been totally obvious but wasnt, was that for years it's been the amps on stage that have been the problem on stage regarding hearing everyone, rather than being a necessity to hear everyone. Everyone could hear the pa perfectly clear and could have easily got away without the in ears. The in ears were perfect and I kind of had the 2/3ds in rather than fully as a reinforcement. For years I've played with guitars at a million decibels and not been able to hear them at times, hardly ever heard keys and had bad monitor mixes. But I'm now convinced it's the amps that were the problem. Just sound smashing around everywhere. I'm from the totally hardcore you need a big old amp behind you and need to feel the bass and the wall of sound, but now weve took some time and done the ampless thing as a whole band I'd reluctantly have to change my mind. The front of house mix was so much easier to do as well. Literally just have to worry about what's coming out of the front. No clash or bleed with amps, direction, or monitors etc. Oh, and pack down took 15 mins and was so easy and lightweight with no compromise on sound.

Annnnndddd...... Yeah!! Finally found another. Well chuffed.

Mani - Stone Roses. Brilliant melodic lines and pretty much the pinnacle of the entire Madchester / Indie scene.

Hi all, Does anyone know the average price for a secondhand Ray 34 - the older ones (approx 10yrs old) with the matching headstock colour? I've seen them go between £500 and £800 and even listed at £900 and just wondering what they should be priced at?