lownote

I find the whole idea of notes excluding, and musical orthodoxy a macro-aggression on my creativity. I reject the binary concept of note and not- note and instead embrace tonal diversity.

Where in Norfolk? Fill in your location.

watt?

Wonder if someone has a steer for me on how much more oomphy is an RM800 head than say a MB LM3? Is it 60% more noisy, or one of these things where the difference in real life is tiny?

IMHO a big barrier is the offset side mark, almost ubiquitous on lined fretlesses (fretlessii?) and common with unlined. Why make life even harder? A side mark on the note makes life so much simpler.

It's the color it goes to. I bought it secondhand 3 years ago. It started dazzly white. Much better now. It's less tobacco cream than in that pic but as you'll see from the cab and Cort next to it the colour balance isn't too far out. EDIT: You might notice the faux wear on the top of the body. I'm not into relciing normally but I wanted to see if the wood was nice enough to strip the body and thought I could hide the test in plain sight by making it look like relic. In fact the original colour was so stupid bright relic'ing it a bit brought the colour down to a manageable level

I can't get it to go red either. As I crank the gain up I start to get flashes of green in the VU meter and these get more frequent. But even flat out the needle won't go fully over to the rright, and at no stage do I get a red flash. I am indebted to you for your suggested EQ settings, outlined earlier in this thread. Perfect for my fretless with flats.

Just acquired a RM800, which I'm coupling with a BF210. My future dev path may be RM210 cabs with upgraded drivers as recommended by that nice David Green at Ashdown. One thing puzzles me. When I plug my Cort A6 (active) into the active port on the amp things go much quieter and dead sounding. I've checked the Bass battery and that's fine. Anyone use the active hole?

Just bought an RM800 head from Phil. Great comms, packing and super prompt. Deal with confidence.

Still puzzled. I just clicked on Happy Jack, but I can't see his equivalent of my waffle box about my background in the KGB and what bass I play.

Probably the dumbest question yet, but where are members' profiles to be read?

My main gigging bass is a Revelation P bass in white. I spect I would like a better quality bass at some point but in the meantime I upgraded that which needed it: pups to Bareknuckle 58 split, tuners to Gotoh lightweight, loom to KiOgon. Now that's done I can't find much I dislike and it keeps on coming back as my go to bass. I even sold it once and found it back on the doorstep after a few days. The only issue you should check on the Revelation is the placing of the side dots. I had Bass Gallery check and all mine were on the notes except, bizarrely, the 12th fret pair which needed relocating by a centimetre. I dislike mwah intensely so have my nut slots at 0.3mm and the action and relief same as a standard fretted bass. Why do I play unlined? Honestly? The buzz I get when people go 'oo, ah, look he's playing unlined fretless'; the fact that 'oo ah' mitigates criticism of my usual playing errors; the buzz I get from creating my own notes, as against the 'paint by numbers' tin ladder system. I have got a fretted six, not least because chordal work up the dusty end of an unlined is really hard, but for down and dirty gigging I like the Revelation. I have had a Portamento 5 and liked it very much. However the stub lines can give people the impression you're trying to look cool while still keeping the cheat sheet. One of our guitarists said as much to me: go commando or don't, but don't pretend you're naked while still wearing a thong. But hey it's a great bass and I will likely get one again when our guitarist isn't looking. If you like cheap, you might stumble across a Vintage V940FL. Very wood, small, light active PJ. You might want to upgrade quite a lot of stuff and and move the side dots, but you can find them for around £150 or less.

I have heard from Mark Bass himself. FYI, power up delays on the LM3 are normal up to 10 seconds. Anything over and you're in trouble. I thank you - and MB for an almost instant comeback.

Got an LM3 which takes around 6 seconds to output sound from switch on. Anyone got anything on this? Is it normal? Nver had it on my old LM2. In all other respects the head is in excellent cosmetic and working condition.

I have put in three years of three hours a day on saxophone and I am still at the same stage as someone of moderate aptitude gets to in 3-6 months. The aptitude in question is being able to remember sequences of notes. I can't, simple as that. On bass I just have to remember shapes. There are no shapes on sax. So I am a case in not point.

As I have reported elsewhere, my MB LM2 developed a strange occasional nasty sound after I dropped it. Knowing I would get nowhere with Real the official repairers I took it to a local guy. Bear in mind this is Norfolk. He eyed the amp then whacked it hard with a length of 2 by 4. For non carpenters that's a size of timber, 2 inch by 4 inch and whatever long. The amp worked fine after that.

Here's Alex (Captain Barefaced)'s definitive opinion, FYI: “Either your amp is clipping or you're overloading the drivers. With the 10CR they gradually overdrive in a fairly 'nice' way but solid-state amps tend to clip more suddenly and harshly. Either way it sounds like you don't have enough output… not loud enough or able to produce enough lows at that loudness - the answer is more speakers and/or more amp power.” Which is counter-intuitive to me. I thought cabs farted because they're not wo/man enough for the amp; seems it's the other way round.

Be aware that Real charge fairly serious money because they've got a monopoly. I only approached them once for a duff TC250 head and the repair was going to cost more than the head was worth.

https://www.markbass.it/product/mb58r-104-pure/