ratman

I just bought another loom from John. As always, it's assembled beautifully and from top quality components. Definitely recommended as an upgrade to the standard 'made as cheap as possible' factory loom supplied on most guitars. Thanks again John.

This bass is being sold by somebody I know. I was there when he bought it, and I can vouch that it's a stunning bass to hold and play. The fit & finish is absolutely top drawer, just what you'd expect from a Wilcock. It also sounds really good. It's in the Gatwick/Horley area if anybody wants to try it out. https://www.ebay.co.uk/itm/373612691357?hash=item56fd0d3f9d:g:RbgAAOSwAIxgxJZU

Not yet. I have a Stomp, so the number of blocks I can use is limited. Even with the recent step up to 8 blocks I don't bother with IRs. Back in the good old days before modellers we mostly used to DI the amp or bass anyhow, so no cab sound ever got to FOH. I think my Stomp presets sound great through my PA. If I had a Helix or an LT I'm sure I would use IRs but I don't at all feel like I'm missing out the way I use my Stomp.

I'm using the Princeton amp model for some of my clean bass tones now. It sounds fab.

I just sold some MIDI kit to Claire. She's a breeze to deal with. Another easy BC transaction Thanks Claire.

It is.

The Line Selector, when engaged with the footswitch, brings into the signal path any effects placed in the chain after it. It can turn on multiple effects at once.

I bought some scratch plates from Alex. All in, an easy process with great communication. Definitely recommended. Thanks Alex.

I just bought a MIDI splitter from Adam. Top packaging and speedy delivery. Thanks Adam!

I used to own an Aftershock. Once I'd got my Stomp I sold the AS, the Stomp does all the drives I need well enough.

That's no issue. It says on the website - 'Please add "Please ship 120V version" in the comment section while entering your order online and please allow 48 hours prior to shipment for us to modify your purchased product accordingly.'

That's that sorted then!

Rhythm Stick has a few mentions here, and for good reason. Killer groove when it's done right. There are two other songs that have caused me some extra practise time. First up is Footloose (Nathan East) which isn't too hard, but getting the choruses smooth and not rushed is the big test. And finally, Ain't Nobody by Chaka Kahn. The bass & drums are programmed and they are both a bi-tch to get right. The bass part is so syncopated and it's either correct or it just isn't. I used to use an octaver to emulate the bass synth sound but my C4 gets me a lot closer these days.

I'm very happy with my Stomp amp models. The B-15, Bassman & SVT get me in the ballpark. I'm sure they don't sound exactly like the real amps, but they're close enough for me. I thought my B3 & MS60B had some good models in too.

I've not had any cancellations yet, but I'm expecting them to come soon. My diary gets busy in a few weeks and what was looking like a decent summer season ahead could now be a disaster. At this stage I'm hoping that I won't lose all the pub gigs as they may count as smaller gatherings. That money could be a life saver. The well paid weddings, corporates & parties are more likely to disappear as further measures come into force. As the whole planet is in uncharted territory it's so hard to predict anything right now.

How about something like a Truetone, Coiks or Strymon. All proper isolated supplies.

French Corona Virus Solution.mp4

In my experience, letting band members control their own monitor mix during a gig via phone or tablet is asking for problems. What most people do is turn channels up to hear them better, they don't think about turning other channels down. Invariably, the monitor mix gets louder & louder and you get into feedback territory. When the wedge starts to squeel they'll look at whoever owns the PA and give the 'it wasn't me, I didn't do anything' look. Monitor mixes should really be sorted out in sound check, with only some minor adjustments made as the gig starts. I would suggest that unless you really trust musicians to be sensible with adjusting monitor mixes, then only one person in the band is responsible for monitors & mixes to keep things under control. Of course, if they're using in-ears, let them loose on their own mix every time as it doesn't have any bearing on stage volume.

A big soul band I was in for a few years used a regular PA company. On the rare occasions I didn't have a bass rig for the night the PA guys would give me a QSC monitor (2x12 I think) and send my bass signal through an auxillary, it always sounded stunning. I don't know exactly which model wedge it was but I remember them saying 'that's what you get for a couple of grand'. And that would have been the best part of 20 years ago. I remember wishing I had the money for one back then.

Want more power? How about one of these 600W power amps. I have one, I love it.... They also do a 1000W version https://www.guitarsoundsystems.com/gss-baby-sumo-ampxlite-bass-guitar-power-amp-c2x21844846

Another example of 'you get what you pay for'. An 1x8" wedge costing £209 is not going to cut it for bass in a band. It might be ok for quiet bedroom use though.

She was awesome!

This comment got me interested in why subs shouldn't go under tops, and I found this SOS article on sub placement. https://www.soundonsound.com/techniques/bass-place