Painy

Added to my watch list. Just have to wait for Mrs Painy to have a night out now so I can watch it in peace .

Unfortunately, even a very cheap second hand AD200 is out of my price range at the moment. Having enquired today with PMT as to what they'd give me for my AG500 as a trade in (not generally the way to get the best deal obviously anyway) I'd still have to save up for a couple of months before I could manage even the OB1 300! Oh the joys of paying for bringing up 3 kids!

Thanks for that. I do think the difference between valves and class AB is less obvious than between AB and class D to be honest. I've also been chatting a bit with dood as he's reviewed these amps and was impressed by them. Now I just need a convincing story to tell Mrs Painy about why getting one of these amps is absolutely essential. Possibly something to do with halting global warming while bringing about world peace and an end to all hunger or something like that......

Volume aside, do you like the sound you get with your current rig? If so I'd say by changing your amp you risk losing the sound you have and like at the moment by trying to fix what is essentially a bit of a non problem (if it's a case of reducing the amount of gear you have to carry about that's possibly a different matter). As has already been said, nothing wrong with having plenty of headroom. I'd just go with what you have for bigger gigs and then take just one cab to smaller gigs but tilt it as Bill suggests. GAS for something new on the other hand is another issue entirely.

Only if it won't do what I'm after . Otherwise I might think about putting my Aguilar AG500 up for trade but initially I'm just working out if its worth asking my local PMT to get one in for me to try out.

My wife uses tomatoes a lot in her cooking.

I've just been watching some recent YouTube videos of Glenn Hughes live using his Orange rig and the sound I'm getting at the moment though my TE AH350SMX and using a few pedals is in the same kind of ball park tonally (full, round low end with grindy, aggressive highs) but I'd like to try and get a little closer if I can. Unfortunately the AD200 heads are well out of my price range (even if I saved up enough my wife would castrate me for spending it all on an amp) but I'm wondering how close the OB1-500 gets to the sound of the AD200 - particularly in terms of that valve powered low end (oh alright then, heft. There, I said it). Anybody got any experience of both amps that can give some insight into the similarities and differences in sound between them?

Just to add that not only is his work excellent but his service is equally excellent and he's a top chap to deal with too!

I like any one of Cliff Burton, Jason Newsted or Robert Trujillo individually far more than I like Metallica as a whole. On the other hand I massively prefer Metallica as a whole to Lars Ulrich as an individual.

My last name is Pain. All my incredibly imaginative friends call me Painy.

[quote name='obbm' timestamp='1505304983' post='3370882'] It'll need a 240-volt power connection and I'm not sure that I'd want to be hooked-up to the National Grid like that. Perhaps what's needed is a Beltpack Nuclear Power source. [/quote] Hmm, a miniature power reactor that can be kept on your person.... I think you need to talk to a certain Tony Stark of Stark Industries. He may just have the very thing you're looking for.

If like this please if it's still available. PM'd

I have an old Dan Armstrong Yellow Humper (Google it) which KiOgon kindly modified for me so that I could install it inside my P bass. It now has one mini toggle switch to bypass the circuit completely so it can still run in passive. When it is switched on a second mini (3 way) toggle selects the settings. Centre position is flat eq but slightly boosts the signal so is effectively just a buffer. Up position is a bass boost. Down position is both bass and treble boost. The Yellow Humper is unfortunately no longer made but the circuit diagram is easy to find online if you're any good with electronics.

[quote name='radiophonic' timestamp='1504610314' post='3366009'] Off topic, but what would be really good is if TC really embraced the potential of the spectracomp and made a two button version with multiple toneprint slots. The ability to switch between pairs of user selected prints would make a fantastic product. Who know's what's in the pipeline after MASH though...? [/quote] For what they cost and with their small footprint you could just have 2 side by side.

After nearly 3 months and half a dozen auditions, last night we finally found ourselves a fantastic new singer (our current singer is leaving due to a career change). The mountain of time wasters we've had to struggle through to get there though has been genuinely painful at times - to the extent that after 21 years as a band we've even considered packing it all in in sheer frustration at times. Just glad the search is over and we can get rehearsing now.

I just thought of another one. The drummer in my band used to play in another band alongside legendary Guitar Interactive Magazine contributor and bass gear reviewer and also D'Addario, Barefaced, Dingwall and Shuker endorsing artist, the one and only Mr Dan Veall. We've also both been known to post on the same well known online bass guitar forum

My current number 1 gigging bass is a Squier but that's because I genuinely love it (it has had some modifications though) not because I'm worried about damage at gigs. My main bass for about 7 years though was a Warwick Streamer stage one that I bought new. I played it at every single gig that I did during that time and can't say I ever worried about it. When I eventually sold it the only marks on it were put there by me.

So now you have this Ray with a P pickup. Walshy is currently showing off his new Shuker Rockinfreakapotamus (Jazz with a Ray pickup) and a while ago mcnach modded his Matt Freeman precision to a pair of jazz pickups. Now that's a trio of basses I'd love to gig with!

I've got a few. My step mum was the manager of the Who's official fan club in the early seventies. She knew all of the band quite well (is Still in occasional contact with Pete and Roger) but out of them all was closest to John Entwistle. When I was 16 my band had the chance to headline a multi band gig at the LCR venue at the University of East Anglia arranged as part of national youth week. Our roadie had been to see Skunk Anansie there the week before so I got him to point out where on the stage Cass Lewis had stood and made sure to stand in the same position while I played. I'm lead to believe that my Aguilar rig was previously owned by Paul Turner. Probably the best one though is that none other than Dave Swift himself recently liked a comment I made on one of his facebook posts!

About 20 years ago (when we were all still in our late teens) a lady who I'd guess was probably in her mid fifties would always be at all of our gigs at a particular venue and would constantly try to flirt with our (slightly terrified) drummer. Eventually she obviously couldn't contain her lust any more and at one gig chased him around his kit 3 times before catching him and trying to stick her tongue down his throat. She then proceeded to describe to him how she fantasised about him every time she had sex with her husband. He has since emigrated first to Australia and now to Canada although I'm not sure if this was in an attempt to get away from her or not.

John has just provided me with a 3-way mini toggle switch complete with very neatly attached solderless connectors. Faultless service as always!

Our old singer used to change one of the lyrics in Living on a Prayer. Instead of "When she cries in the night, Tommy Whispers", he would sing "When she cries in the night" and then shout at the top of his voice "TOMMY FISTS HER"! Nobody ever seemed to notice though.

[quote name='Nicko' timestamp='1503491516' post='3358657'] Does anyone on this forum ever listen to anything that was released in this century? Most of these suggestions would be what the kid's grandparents grew up listening to. [/quote] Muse have apparently released more than 5 albums this side of the millennium. And as far as which bass to get them - if they're playing Muse then it won't matter in the slightest anyway once it's covered in a great big gloopy bucket of fat, synthy fuzz.

I've been working really hard over the last couple of years to get my tone exactly how I want it. To get there though I've ended up with what I guess is a more complex than average (bass > lead > amp) signal chain and was interested to see how others get their core tone (excluding tuners and effects that only get turned on for certain passages/songs). Mine is:- P bass > Palmer Deepressor compressor pedal (set to sound fairly transparent and just even things out a bit) > MXR M80 Bass DI+ (set with a big boost in the mids to counter the very scooped "colour" pre-shape that automatically engages with the distortion. Distortion engaged but set on almost minimum gain and blended in about 30% - overall gives a very aggressive, 'tubey' tone) > EHX Steel Leather bass expander (used very subtly just to help the bass stand out in the mix a touch more) > TE AH350SMX head (pre-shape 1 in, fairly heavy compression of the lows, none on the highs) > Pair of Aguilar DB112 cabs (horn on full on the top cab, off completely on the bottom cab). So, are you a simple plug and play kind of player or do you go through a multitude of effects, pre-amps and processors to get 'your tone'?