Sean

I agree. And I've gigged two cabs many times where the lower one is just a shelf. At the SE Bash recently we did a non-scientific "test" with one Monaco vertical-mounted on top of one horizontal. We walked around the room listening to just the vertical and then did the same with the both plugged in. It wasn't particularly loud but it was very revealing with that dispersion going on. @stevie will be able to explain it properly but what I got out of it was that now I'm playing in a band where I need to use backline to fill the room, I'll be thinking more about this and probably taking both of them with me just in case. I know one Monaco is amazing but the pair with one turned through 90 degrees was like another dimension. @cetera and @Wolverinebass were there when we were doing it.

PM sent

I know someone selling this... It’ll need an offer. Gary is spot on with that price range.

Hi folks I'm learning the funk/disco aNYway by Duck Sauce and am playing a rough facsimile of the line using disco octaves and some stock funk patterns. I've reached the limit of where my ears are with fast chord changes. What I'm playing isn't really giggable at the moment. It's been requested by a punter for a function gig. I can't find a chord chart, tab or notation on line and there's a lot of quick (one beat) changes in it that I'm not sure of. If anyone has something (Ideally a chord chart), that would be fabulous and super helpful. Thanks Sean Edit: done it! The Amazing Slow Downer really is amazing.

Daryl, is that ASAT the same as an L2000 but just a different body or is there some unique ASAT-ness to it?

This year has been really busy for me with bands. I started the year in a 3-piece rock band that we'd been doing for a few years. Originals, obscure covers, mainly desert rock style. Only a few gigs a year at small venues. I'd recently early semi-retired and was looking for something else in addition. I was contacted through FB and ended up joining a busy established (15 years) classic rock covers band and learned the 30 songs and went out gigging regularly. It was good to get back into that regular routine however there were issues that I've covered in detail on other threads and I wasn't 100% happy. Then in September, the band announced it was going to split in December, so I started looking around. I auditioned for a busy, long-established Bristol-based cover band and got it. I'm currently learning a 40 song list. The new-to-me band has a great vibe, a very interesting crowd-pleasing set and is a real team effort. I got to see the last show with the outgoing bassist and chatted to him at length, which was really useful. I think I've learned around 80 songs this year in total, I've also managed to focus on improving my technique, my reading, my ears and my theory all in parallel with learning the sets and working on my sound and getting back into doing backing vocals. I'm up to around 30 hours a week of focus and am enjoying it more than ever. Not having to be part of the corporate machine anymore helps a lot. The band I started the year with split, the band I joined to expand my activity split and now I'm getting ready to rehearse and gig in '26 with a band that so far has been very positive. The overall effect on health and wellbeing has been tangible. Oh and I got to gig my Hamer 12 singing and playing Cheap Trick covers with a little thrown together band for a one-off.

The PRS factory at the Cortek site is controlled by PRS and uses dedicated Cort employees. Here's a Philip McKnight (Know Your Gear) video on it that's very revealing. As far as your bass goes, I'd return it. It looks wrong.

I think once we get into the realm of very high end basses like >£7k for a custom US NS-2, it gets really subjective and personal and goes beyond having a quality tool for a job. I don't think I'd order a custom NS-2 but I'd consider the right used one at the right price. Having owned a US NS5-XL in the past and gigged it a lot, I'm not convinced it's worth 3x what my Euro 5LX is as a gigging tool, or that it offered 3x as much anything but if that is my only measure, I'd be missing the point. Ordering a custom NS-2 would however be very low risk compared to going 100% custom. At least you know exactly what the recipe is and that you weren't going to be disappointed. What all this tells me is that my various Euros are phenomenal basses and extraordinary value and a few of them are really special. I played Gary's CST with the Legacy and it's fab, so I understand what you're enjoying about it. Have you considered the LHZ pedal? Whatever Spectors I buy in the future, they'll either be used private or I'd go through the import route for anything new. I think my point is, do what you fancy, especially after holding that fascination for 40 years.

Me, with my Spectors, Tech21 DP-3x and a plectrum are learning Star Girl by McFly and Shut Up and Dance by Walk the Moon. I've also this week learned Chelsea Dagger, Zombie by Jamie T not the song of the same name by Cranberries. I'm having a whale of time. It's genuinely refreshing to be playing material I'd never listen to.

Best? Without a shadow of doubt, it's the LFSys Monaco. It's not just a cab that I like, it's changed how I think about backline and what the function of backline is. The Monaco changed the narrative completely for me. So many people have commented on my sound since having the Monaco and it's not the character of the cab that’s doing it, because it's FRFR, it's how it disperses the sound and enables you to be heard. Yes, it's light, it's compact, it goes incredibly loud and drowns out a vigorously played drum set, of course it does and these are features that we’ve come to expect over the past 15 years or so from high-end boutique cabs. It nails all the modern expectations but what’s different about this, and what puts it apart from anything, is how it does what it does and that is the feature that makes this such a good product. The construction of it is also top notch and beyond that of comparable UK boutique builders. I absolutely love these cabs and they've changed the whole gigging experience for me; I can now hear the detail of what I’m playing all the time and don’t have any of that mid wash out that sometimes makes playing notes guesswork. I've got 2, and together, one horizontal and one vertical it's like another dimension as @stevie demonstrated at the SE Bash recently. Worst? Nothing, really. If there was, it would have been returned.

Me too.

We aren't going to change the situation so we have to navigate through it. Learn how to use one of these (or something similar) and stick it in your gigbag. Stick a jack into the effects return of the PoS house rig, tell the FoH demigod that the box provides a fundamental part of the band's sound and off you go. Or, if he can't see/hear you, get one your bandmates to tell him. The last time I did this was about a month ago, HX Stomp (rather than DP) as feed to FoH through a TRS-XLR male. I didn't even use the house rig, the foldback was good enough.

Dimed = everything on full. This is the "fun zone" of the Haz. With reference to "attack", I was referring to being able to control the drive/overdrive with just how hard or soft I play with my fingers (or a pick). With one pedal setting I can play the line to Faith (George Michael) clean and then by digging in a bit more I get some warm drive on say, Mardy Bum (Arctic Monkeys). I know that's possible with any set up but it's easy, controllable and sounds like I want it to with the LHZ. I've also found that the LHZ plus the Origin Effects DCX Bass pedal is just magic however the Legacy through the DCX can get very close to Tech21 DP-3x territory. It's a fine pre-amp and possibly more versatile in its application but for the "classic Spector recipe" the LHZ delivers. I don't change the settings on the bass much, maybe just the odd song where I dial back the treble, and I find that the LHZ plus the EMGs give me more than 90% of what I need. My Spectors (PJ EMGs + LHZ) are pretty much one trick ponies but it's the best trick in the world and the ponies are very pretty and have wings 😉

Yes. I did this exactly so I could work out if we could do 5 in a day while chatting and getting distracted. I think that'll be a thread of ideas own at some point.

I've got 6 with LHZs in, one with a Legacy and one with an EMG BTS. I took the Legacy out of one and put an LHZ in. It was very different. I've swapped between a Legacy and an LHZ bass every day for the past couple of weeks. Playing about 30 minutes, switching, then playing another 30 minutes and switching again throughout the day. I'll be swapping out that Legacy for another LHZ soon and putting the Legacy in the one with the EMG BTS. The LHZ is a clear winner for me but I love pickled breadcrumbed herrings too! It's totally subjective but I will say that I run the LHZ "dimed" and I can't get that same sound or responsiveness to attack with the Legacy; it's quite different. The other spare Legacy will probably end up in my Hamer B12L (EMG 35DC). It's more versatile and nicer than the BTS that's in there

A cracking video from Lonnie explaining LHZ Haz clone vs Darkglass Legacy. It answers a lot of questions for me. Enjoy.

I had the same problem in quite a few venues with BF cabs (2 X TWO10) all as recently as this year. I can empathise too as there were people who just didn't get it, told me to turn up, asked me if I was deaf, or just ridiculed the situation and didn't take it seriously. I don't experience the problem at all since moving to an LFSys Monaco. I can hear myself, the band can hear me and it'll go as loud as I'll never need. There's no unmiked drum kit that will be louder than my rig now, and if the kit has mics then my amp will be DI'd along with it.

I can't ever see me having anything to replace the Monacos. They are one of the best products (of any kind) I've ever used. It exceeds my expectations and most importantly of all, it can be heard all the time from wherever I am, or wherever the drummer is in relation to it. That is what made me an evangelist for LFSys. I'm very interested in the baby 8" LFSys cabs of the future for home use and rehearsals. I think these will be something that I'll use in parallel.

Genuinely a pillar of the genre. The soundtrack of my childhood featured an enormous amount of his playing. God bless and sleep well Steve Cropper. You moved a lot of people and, very much like the great bassists you played with, you always supported the song.

A mate of mine sent me a message about the Dave Murray before we knew the price. We're both fans. I saw them on the Powerslave tour and quite a few more since.

@BassYerbouti https://www.talkbass.com/threads/orange-sp212-need-feedback.1107186/ Interesting thread with input from some members that post here. it does descend into chaos by page 3 but there's some useful info.

How did you get on programming the MIDI switcher?