The Badderer

^^^ always good to have something more powerful than what you need (if it's solid state not a valve amp). Headroom and not needing to push the amp hard are always good things. With a Class D, far better to have too much power with an RH750 than try to get by on a class D at 250-300W only to find you're pushing it quite hard up to its limits. (let's not get into another Class A - A/B - D debate as there's a thread open for that...)

or you could go with 2 stacked pots each having volume and tone for each pup. looks well cool too!!

ohhhh crikey. So you're going for different sounds from the same pedals in the same set.... yeah that's either a G-system type deal, or you want to start looking into certain MIDI controlled pedals that a loop switcher can control when you program it. That's still going to involve changing certain pedals or buying a few new ones to give you more sound options so you don't have to keep adjusting a few pedals by hand.

If it was me, my solution would be to keep the pedals and buy a decent Loop Switching system and keep using the pedals. It takes away the need for tap dancing and means you can program your sounds with great accuracy. The footprint of something like a G-System will have a similar on stage footprint. Horses for courses though.... Price wise you can probably get a decent Loop Switching system for less than the difference between the money you'll get from selling all your pedals and buying a G-System. Edit. just seen it has had a big price reduction to £750 so you would probably put in slightly less by selling all your pedals, but I would still go for controlling proper bass pedals than using a Guitar based system (not having a go, just stating my preference )

good choice! you'll love it!

oh and in different bands I've had guitarist and drummers who at certain points we have had to shout "Shut up" at until they stopped playing (usually through the PA). No excuse for noodling during a band discussion. If you need a moment to practice a part you can't get, ask the band for a moment and they can have a quick break while you sort out the difficult bit.

[quote name='Happy Jack' timestamp='1437551727' post='2826898'] Unacceptable behaviour at any time. Worse, if you and the drummer just passively accept this, you are tacitly encouraging him to carry on. Either you need to drag him down the pub and have a proper talk about it, or you need to find another way of rubbing his nose in it. You and the drummer could simply leave the room every time he does it and force him to come and find you. You'd need to do that EVERY time though, not just occasionally. [/quote] totally agree. other options are also walking over to the amp and turning it down and if he wants to then talk about it, you have a fairly blunt start to the conversation, but it's a bit more aggressive than I would go for. Simple question to ask him is "If you're warming up, why are you playing at a level that is far louder than you play at normally?" This is assuming he's not playing at this level all the time in which case if you see yourselves playing together for a long time, you need to sort your levels out now before you start losing hearing.

[quote name='Jus Lukin' timestamp='1437502982' post='2826652'] Any thread can go the wrong way with misinformation, bad manners, and a big ego! [/quote] Yeah. I think over the next 10-20 years, there will be modules in Psychology degrees based around different musical forums and how people communicate within them. Having seen how some threads just snowball in the space of a couple of poorly written comments that allow someone else having a bad day to mis-interpret and fly off the handle, I am now very careful with how I write posts and make sure I express what I'm not meaning so that people can't just hear it the wrong way and fly at you. It becomes quite tiresome having to take such care, but then again I guess it makes you think what you're writing through a bit more before you post it.....

Sounds good! £50 for a decent compressor At some point when I'm in a buying phase again I do want to try out some other compressors especially the Cali 76, Diamond and Keely to see what they're like. Unfortunately I doubt i'll be doing any buying over the next couple of years, but on the plus side some of them might have come down a bit in price in the used market by then. Also I'd love to try the new Darkglass comp as well. Can't imagine that being anything other than great!

man... I'm wondering if QC has slipped a bit at MXR, I've never had an issue with the 2 pedals of theirs that I own. (Edit... don't want to make a generalised sweeping comment about one company's QC practices based on 1 pedal from Amazon and a Demo pedal that make have been fairly badly treated at a store but I'm just thinking out loud on a forum....) After this post I did some bass practice. Had my compressor set with a fair amount of makeup gain, and there was a mild level of hum (this was with my Audio Interface volume turned up pretty loud and listening through headphones). I run into an Avalon U5 DI with the Boost set at 4 (all other controls off) then into Audio Interface. I then turned off the MXR and turned up the gain on the Avalon until it reached the same level of signal as I was getting from the Compressor (Avalon boost was set at 7 or 8 didn't notice which but it was a big jump up in gain). The background hum was definitely quieter, but if you are talking about where your bass tone sits in the mix, you aren't going to hear any hum from either of them at all. For me the benefit of running the compressor outweighs the marginal increase in background hum because the only point you would hear the hum is in the silence between songs, and the hum isn't loud enough to be heard if the band volume dropped really low.

looks great! love the detail of the wood against the frets.... disappointed in the lack of clamps in this shot though......

P.S. if you did notice a large amount of hiss, this is quite easily achievable with some compressors if adding a large amount of gain. With the MXR if you really cranked the INPUT or OUTPUT knobs really high (to the right) you'd probably experience quite a high level of hiss because you've added a high amount of gain that will boost all the noise present between your bass -> Comp pedal.

i guess it depends how much control you want over your compressor. I got my MXR bass comp a few years ago and it works great. Not a lot of additional hiss even with a Jazz bass and a lot of additional makeup gain added. Some pedals like the Diamond get a great review but they only have 3 controls. Some people see 5 controls and think that's too many. A lot of it comes down to preference. I am surprised about the build quality comments etc. Maybe because it was Amazon stock they received B Stock and sold it on as massive corporates are likely to do. I've heard of similar happening with Sandbergs at Thomann. Don't mean this to come across in a "how dare you bash a pedal because I own it and i'm angry" type way. I struggled to understand and get what I wanted out of the MXR until I better understood compression and what I wanted from a compressor. (Again I do not mean that in a patronising "you have no idea what you're doing" way, I'm talking about myself). Hope there's enough qualification in there. We all know how compression threads can go......

as above, experiment with the order. Definite positions for me would be, delay at the end (unless you're using a DI which obviously needs to come at the end), Chorus before that. At the beginning of the chain you'll probably want Wireless receiver - Tuner - Octaver (assuming it needs to be at the front of the chain to track) - Darkglass Then it's up to you to figure out what you're doing with Hartke and the BBE. Experiment with most things as crazy sounds are found that way!!

well..... having put this topic to bed and definitely, absolutely 100% decided on buying a bass when I get there... even went as far as trying 2 squires in Wunjos.... we got really cheap flights to San Fransisco with BA in their sale today. So it now turns out it'll be far cheaper for me to take a bass and I trust BA to transport it fine (and if it gets damaged I'm sure i'll be able to get compensation for the damage... famous last words). So.... update to my thoughts.... Warwick is a no go... amazing bass and getting some incredible tones out of it... it does a P Bass tone better than a P Bass (just found out how to get it). The neck is just to chunky for my playing style for me to play it over long periods of time. I'm sure i could get used to it, but I'm not 100% comfortable. Lakland... I'm not taking this. When I get back from America I want to try putting a new Pre-Amp in it and seeing how it sounds then. I don't want to take it in case I get the chance to record out there. So down to ACG or Fender. I'm currently just playing my Fender as I was getting my fingers ready for playing on a Squier CV Jazz, and I'm starting to feel comfortable on it. I've also been adjusting truss rod etc. to get used to setting it up so feeling a bit more comfortable with it even if the set up needed sorting in a very cold US winter. ACG I still feel that it would be great to have this with me and knowing I'm going and coming back with BA makes me a lot more comfortable taking it. Well there we go. Dilemma is slowly sorting itself, but still no closer to making a decision yet.... AAARGH!!!

on a slight tangent, but if you are living in a set of flats, you do need to check your leasehold documents before playing bass too loudly and upsetting the neighbours. Written into many leases are clauses about playing loud musical instruments. You do have the right to play your bass, but if you play it too loudly and people get upset, you may be in breach of the leasehold of the building. I don't want to sound like a killjoy, but you can't assume it's ok because it's a private flat.

Are you going vocals only into the PA or guitars too? If you have people at the sides they are going to need speakers facing them directly otherwise they won't get any clarity of sound, just the lower frequencies. If your guitarists are going out of cabs, then they're going to need to have cabs pointed in all directions too. My advice would be to mic 1 guitar cab and have it going out the PA too, that way there's only one source of sound going sideways rather than having PA and cabs everywhere. I'd keep it simpler and put everything through the PA aside from Bass if you don't need to do bass (given your thread about your Barefaced cabs being too loud I don't think Bass is going to be an issue being heard). Obviously if it's outdoors you'll need to mic the drums and send that through the PA too.

Well, if you're enjoying bass then you could always find a new slightly better organised band who need a bass player and focus on them as your main outlet for bass playing. If your current band are still messing you around you can always leave. I'd start looking for a new band who have roughly the same ethos that you do. It doesn't mean you have to walk away from your current band, but if they're still messing around in 6 months you aren't left feeling like you've wasted half a year.

All the advice you need is above. IEM's are one option, however if he has drummed so loudly for so long as to cause himself to start to lose his hearing then you probably don't have much of a chance of sorting stuff. The biggest time when someone starts to really think about the volume they play at is when they really start to notice their hearing is going. If he knows his hearing is going and is still playing that loudly, then it'll be hard to convince him to change. A polite conversation is the only option and explaining that you aren't going to be able to continue playing with them because of the volume is a good starting point. Also explaining that there's no chance of getting any repeat gigs at any small venues because the drums will make the gig not enjoyable and they'll probably get a load of complaints from regular punters. Only real options that I can see. Hope it sorts itself out. Remember your hearing is far more valuable than playing with any band no matter how good.

If that's the case I'd say that you would come out slightly ahead in a like for like swap, purely because people are prepared to pay more for a LTD edition Fender than a Lakland even though I'd say the Lakland has better build quality (consistency). If you are intending to use it as a playing bass and you are happy with your Lakland, then I would stick with your bass, especially if he is wanting cash his way. It depends if you get to play before you trade and how much you want a Fender over a Lakland. Quite a few people are both Pro and Against the Fender Low B so you're gonna need to check it out before you trade.

With a Fender it's not very easy to put a value until you know more. if it's a CS 50th Anniversary edition (if such a thing exists) then it may well be worth £1200 if you want to pay it. If it's a USA LTD 50th anniversary edition then it may still be close to that. If it's a Mexican built one (i believe some of their anniversary models were) then it's not worth anywhere close to £1200. I'd be wanting a bit more info than you have got.

[quote name='Kev' timestamp='1436031917' post='2814494'] This any better? [attachment=195643:11058562_10155709728045405_2115648685457363903_n.jpg] [/quote] That is definitely sexy.... but I find clamps just do it for me!

WOW! this is news to me. I'd never known about this. I believe my 2nd hand Head and Cab came with speaker cable, but i'll need to check. I've never run them at anywhere close to serious power / volume, but I'd always just assumed there was no difference between the cables and at some points had put good quality instrument cables in between Head and Cab. I will make sure I get some decent quality cables for these now!

Just got back from having moulds done by the Custom IEM company to get 1964 V6S. Fortunately for me I'm going to the states and will get V6S for less than you would get Quads for in this country and the same price as generic Shure 535s. It's amazing how much cheaper things are in the States if you're going there. Paul from Custom IEM's was great and really professional taking the moulds and 1964 have been great to deal with. Will be a nice arrival present when I get to the States!

I mean this in a totally non-offensive way, but why did you take a day off work? If the bass hadn't made it to Koln then there was no way it was going to arrive at your house because it was still in Germany? Don't know if I missed something, but the logical side of my brain just went 'Huh?'