Huge Hands

I had the peeling Tolex thing on my 2 cabs - around the edge of the removable rear panel. You could push it down flat again, but it would lift again quite quickly. As I only live about 30 miles north of the BF factory and had a day off, I took them down about 3 months ago. I was told it was an issue with the glue they originally used, and they had been through several variants since. They glued mine while I did some shopping, and gave me the emergency repair pot of glue to take home. I haven't noticed them peeling since, and still love the cabs, especially as I now have them paired with a Carvin B1000 that can run at 2 ohm*. It is now a monster rig! *Thanks to Eude and Merton for the tip!

If you're looking to buy, have you checked out the new Yamaha Re-Face range? Their Electric Piano version says it gives a range of tones including Wurlitzer and Rhodes. There's a load of demos on Youtube. P.S. - I am not selling nor am I affiliated with Yamaha whatsoever, I've been looking into these a lot myself as I'm thinking of buying the organ version!

I'm not sure if that reply was aimed at me directly, or trying to start a wider discussion, but no, it doesn't sound like me. If it was aimed at me, you're making a lot of assumptions that in my opinion are incorrect. They might be correct for you, when you've tried that, but I can't think of any gig where I've wildly changed the tone, other than when I felt the music needed it - it was nothing to do with cutting through. Yes, I've had problems with piano players left hands, but that was sorted by coordinating notes and calming down their boomy sound, I didn't need to suddenly become all trebly to get out front past them. I think we may have to agree to disagree with each other on this one. I don't think my Retro 210 rig is overly coloured, it's just a little warmer than flat. If I wanted flat hi fi then I'm sure Alex would have steered me towards the Compacts. I still thought the Compacts were lovely last night, but I preferred mine. That is my choice, and if I'm stupid, then so be it. It's my choice and not yours, and I will let the bands I play with judge me on that choice. P.S. I have studied and worked in the Pro audio industry including being a sound engineer for over 20 years. I think by now I'm experienced enough to know what sounds good for my tastes and works well in the way I want to use it. Even so, I wouldn't dream of telling you your sound or rig was wrong - I would just make my own decision as to whether I would like it for myself or not. The way you're talking, I'm guessing I probably wouldn't, but that's all good - each to their own!

[quote name='JTUK' timestamp='1441989087' post='2863622'] So..if vintage is wooly... who'd want it ..and in what context..? I spend my life getting away from wooly... for sure..!! [/quote] I think this planet would be pretty boring if we all liked the same thing. Both Martin and Ewan were playing some great stuff through their and my cabs, but I didn't really like the sound they were going for. That doesn't mean I thought they were wrong, or terrible, it just wasn't for me. I would imagine that they didn't like my kind of sound too much either! I'm probably one of the closest to a "wooly" fan that you'll meet, but I don't like that term. I call my fave sound "no teeth" or "gummy" because I don't like spanky, trebly over driven tones. Then again, I'm unlikely to join a punk/metal band! However, I still like it to feel tight and not just one big low end mush which is what wooly implies to me. I told Alex what I like and he suggested the Two10 as he said it was not designed as a true flat response to aim for the vintage tones. I think he was spot on. Perhaps instead of "vintage" we should use "warmth". As Alex had predicted, having being used to my cabs I thought the Super Compacts sounded a little light on the low end for my tastes - but I could tell they had the flatter and more accurate frequency response that many "audio purists" would prefer. I was always one of those people that would keep the loudness button pressed on my home stereo, so that probably explains it!

[quote name='JTUK' timestamp='1441976795' post='2863448'] Judging by people definition of vintage on these pages, describing any cab as such is like the kiss of death. [/quote] Not for me. That was what I was looking for......but I know what you mean.

[quote name='LewisK1975' timestamp='1441974367' post='2863411'] Righto . I think its fairly safe to say as both Bass players, and men, we are never truly happy LOL! [/quote] I disagree - at least until the next BC bandwagon I can jump on appears It was also worth noting that I bought my Retro 210s to alleviate a problem where I tore a muscle in my back carrying my heavy old Ashdown combo/cabs, so I needed something a lot lighter. I thought they were really light but actually felt quite heavy compared to Merton's Super Compact cabs. Not enough to worry me, but might be a consideration for others who are thinking of buying one or the other.

[quote name='Merton' timestamp='1441973896' post='2863401'] Nice one cheers Stew - your Carvin head was very impressive I have to say. Tons of power [/quote] I agree. Although the LG1000 claimed to output a similar power per channel at 4ohm that both add up to what the Carvin says it does at 2 ohm, the Carvin definitely feels a lot louder and seems to make the Retros come alive more. Then again, as there was horse dancing around on the M23, being late meant I didn't get time to compare the two in the same environment to test that theory like I'd have liked to. Maybe next time!

I think Merton summed it up pretty well from last night's trial. I felt the simplest summation we came up with was - if you want hi-fi - go for the Super Compact, if you want a bit of vintage warmth, go for the 210. I'm sure Alex would roll his eyes at that comment and say "that is exactly what they are meant to be". Glad we confirmed it! I would add to that that I don't think my Retros add [i]that[/i] much warmth - not like the famed "wooly" sound that everyone reckoned Ashdown were famous for (I like that sound btw). I'd probably agree that the valve head sounded better with the 2x10, certainly for Merton's tone which was a lot more aggressive that mine would ever be (nothing wrong with that!) Just to clarify with yesterday's test: My Retro 2x10s are the 4ohm version which meant that Merton could only trial one cab with his heads. Until recently, I was running both cabs with one each plugged separately per output channel on my Ashdown LG1000. I loved the rig, but was looking for a backup head that could handle either a 2 ohm load or run 2 channels like the Ashdown, and hadn't seen any LGs for sale recently. After some timely and kind advice from Ewan, I splashed out on a Carvin B1000 which can run at 2ohm. For me, with the Carvin, that rig is now a monster and will probably give me all the volume and tone options I will ever need (I'm not that adventurous) - from quiet gigs with the one cab, up to a big stage with the whole lot cranked. I personally feel like I have found my holy grail of rigs now, even though I'm sure it won't be to everyone's taste. Sorry to hijack the Ashdown thread by the way, I still rate my LG1000 where many didn't! Stew

[quote name='Naetharu' timestamp='1441876688' post='2862460'] Hi folks, I just got an email from Adrian this morning to say my new Maruszczyk Elwood has been finished and is on its way to me. He sent me a nice pic too so I thought I would share it with you all. [/quote] I hope you don't mind me coveting your lady, but that is one sexy looking bass. Not normally a fan of red, but that finish is lovely! Enjoy!

[quote name='steve-bbb' timestamp='1441024900' post='2855400'] i cant even think about talking whilst playing without turning apopleptic [/quote] Funnily enough, I find talking a lot harder than singing when playing bass. When I try to say something to my band mates, I always end up sounding like a demented ape with a speech impediment....

I have an Ashdown LG1000 lightweight head that emits an annoying metallic vibration sound at certain frequencies. I have always assumed it is a loose heat sink or cover inside the unit. First time I heard it, I thought I'd blown my speaker. I usually sit mine on the gig bag that came with the head - all good!

In the past, I've been "let go" by a band because as a 6'3" ginger fat b*****d, I didn't fit their "image". I couldn't believe it, I even have nice t*ts too.....

I remember the keyboard player in an old band refusing to entertain the idea of me singing lead, by saying "when you sing, you go from a sh*t hot (his words) bass player to a mediocre bass player and mediocre singer...." To think I was only offering to cover until we got a proper singer To be honest, I have done my best to work on it since (that comment was a bit of a motivator!) I still occasionally sing lead on something at rehearsals but happy not to have to do it live. Lots of backing vocals though - and to the point of in the latest band - a lot of really close harmony stuff. Pitching that for a whole song and playing bass is hard for me!

Funnily enough, I'm the other way around. After about 10 years of getting used to flats on DBs, EUBs and guitars, I find myself hating the feeling (and sound) of rounds on anything I pick up!

I think what some have to remember is that the stereo effect is only really an effect for those in the "sweet spot" - i.e. in the centre of the speakers. I used to be a sound engineer in a large (1,500 seats) venue where the room was very wide and not very deep. Therefore, your front of house PA effectively became two mono clusters, one for each side of the room. I used to get sick of trying to explain to our in-house keyboard player that although I thought his bottom end on the left/top end on the right wide pan of his piano was great for me at my desk in the middle of the room, it was giving two different experiences to punters at the wide extremities of the room. I would therefore pan both channels up the middle as mono! Of course, in such a wide room, the stereo field was good for theatre effects - being able to throw surprise noises and delay effects around the room. Not so good for a general rock band, IMHO.

I seem to remember that when I ordered mine in January - the order status thing never changed from "processing", but they did turn up. I can't remember how long it took, but I equally can't remember being upset about it.

It's a bit personal preference in my experience. The advantage of getting separates is that if you run out of channels and want to upgrade your mixer, you're not necessarily having to shell out for a new amp too. There is also redundancy if your desk fails, you don't lose the amp too, so can just borrow another desk. However, as the others have said, having integrated kit often saves on space and cabling, so if you think you have everything you need, may be the better option for your circumstances. EDIT: As the above have said, maybe look for powered speakers and a "passive" desk - this way the amp module in the speaker is likely to be well matched to the cab, and you can change your mixer to your heart's content.

[quote name='Muzz' timestamp='1436957056' post='2822279'] Got a tilt back stand, pointed his combo at his head...he turned down straight away... [/quote] I did this years ago for a mate's band when they asked me to turn up to a rehearsal as the "respected sound engineer" and try and work out why they were getting complaints from venues and not being re-booked. Halfway through the next track he slammed his guitar down and stormed off. "I'm not playing with it like that - it is giving me a headache!" "Now you know how your punters feel" is all I had to say.....

[quote name='RhysP' timestamp='1436825068' post='2821250'] Wasn't FQ largely just famous for being related to Tricky? [/quote] I went to see him at his height in Nottingham around 1997ish when the Maverick A Strike album had just come out. The band were really good, but I do remember some incoherent rambling about Tricky (I think Tricky had recently released some material accusing FQ of trading on his name). He also spent all night having a pop at his drummer, saying stuff like "you're as s**t as Ringo Starr". As a drummer (at the time) myself, I didn't think the drummer was doing anything wrong and was a bit miffed at the Ringo slate, as I liked and grew up on Ringo's drumming! I was really surprised the drummer didn't get up and belt him one! Suffice to say we left the gig thinking it was great music, but FQ was an arrogant tw@t. Just my opinion of course.

I wanted the Bassbone V2, but it looks like it is not beng released in the UK until all of the V1s have been sold. I did look at the OD, but felt that the V2 would be more what I wanted. In the end I got Bright Onion to make a simpler selector/loop switch without gain controls. It is working fine, but am still keeping an eye on these. I am interested to hear how it goes - please update ASAP!

I like fretting my runs/scales in the same hand shape, so it's good for keys such as Eb where you can do a standard scale shape from the fourth fret on the B string without having to detune or play open strings and different hand shapes, which opften confuses me, especially if I'm trying to jam by ear or sight read. I know to some that will probably sound lazy, but it works for me! I also like the low notes for effect now and then. 5's all the way now for me - I even chose a 5 string EUB.

I tried "New Skin" a few years ago and found it felt a lot more diluted than Superglue. Unlike the OP, the burst blister skin had totally come off, so I was left with raw skin only. I found with Superglue it gave a nice thick layer that I could play with, but it would crack up and come off so I would have to put on more coats and blow dry whilst the singer was waffling every 3 or 4 songs. I did nearly get stuck to a string at one point when he didn't waffle for long enough! New Skin wasn't providing strong enough a layer to play with for my liking, hence the Superglue. As for the hygiene bit, the blisters had been burst for about 24hrs when I did the gig - I don't think anything bad came of it from that one. It certainly saved the gig for me!

At least she's not claiming any Jamerson tracks this time!

Funnily enough - I play in 2 sight reading bands each week, and also dep here and there (nothing too pro) and I only got 9 out of 15! My failings were the chordal stuff and cadence etc. This is where my theory has always let me down. Time to get some deeper theory training methinks....

I remember my mate telling a story that a mate of his was sat in a registry office waiting for a wedding to start when his phone rang. He had "Final Countdown" by Europe as his ring tone. He was just laughing with his girlfriend about "imagine how embarrassing it would have been if that went off during the wedding" - when ten minutes later the doors flung open and the bride walked down the room to that very same song blaring over the speakers!