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  1. If you could only choose one overdrive pedal?

    I picked up a used FuzzDog Juicy Blue earlier in the year from the BC classifieds and can confirm that it is a thing of pure brilliance. No idea how it compares to the real thing but it's still a great pedal in its own right. Mine, as far as I know, is the stock boutique version and while it is a little dark sounding I actually prefer it to a shrill drive sound. Do the mods brighten it up significantly or does it still retain some of its dark charm?
  2. Mid-gig gear disasters

    I've been gigging regularly for 30 odd years now and in that time I have had a couple of incidents of amp failure on a gig; it was the same amp that was first repaired under warranty and then later had another issue with the power switch cutting out. In addition to regular pub gigs my band does some private work too, parties weddings etc. so I feel it a professional obligation to be able to get through the night regardless of any technical issues. That being the case I always carry a spare amp, usually a spare bass, always spare stings, cables, fuses etc. Pretty much a spare everything other than a cab, but on the above occasions I was able to plug directly into the desk/PA to get through the night so I could limp my way through the gig without one. Some people might consider this to be a bit over the top but the way I see it is that if you're being paid to perform, whether it is in a pub or at somebody's wedding, you need to be able to deliver the music.
  3. Open strings: Yay or nay, with reasons.

    I tend to play open strings as often as I can depending on the song and the position of my left hand on the neck. But I have nerve damage in my left arm so the fewer fretted notes I can play the less fatigued my left hand becomes. Needs must and all that.
  4. For me it's got to be this. Great intro but once it gets going the rest of the song seems a bit flat in comparison.
  5. Amp choice help

    I've just plugged a bass (via a pre-amp) into the Magellan 350 aux input and can confirm that it is indeed controlled by the master volume. Is that what you're hoping it would do?
  6. If that is indeed the case then I can see the logic behind the choice even if I'm not a fan of the name myself I guess it's more memorable than the usual mix of acronyms and numbers.
  7. Amp choice help

    You're right, there's no fx loop on the 350, only an aux in. I don't use fx loops so I hadn't even noticed! As to whether it is controlled by the master volume I don't know, I'll try and have a look over the weekend if I get a chance.
  8. Amp choice help

    I've only ever gigged mine with my 4 ohm 2x12 but even in the rehearsal room with my 8 ohm 1x12 it has never lacked for volume, and that's with a 5 piece band including drums, keys and guitar. I guess it depends on the situation you want to use it in? Unless you're doing anything at extreme volume I think it ought to fine particularly with a Barefaced cab which are notoriously efficient.
  9. Do you count when you play?

    Likewise, Bass Grooves is also well thought and easy to understand. If I remember correctly I got my copy new for around £5 or so from either Ebay or Amazon marketplace and it's possibly the best bass related purchase pound for pound I've ever made.
  10. Amp choice help

    The Genzler Magellan 800 fx loop return goes directly into the power amp according the manual. I've been gigging mine for several months now and can't fault it, more of my thoughts about it here. Edit, I missed your budget of £4-500 In that case I'd suggest the Magellan 350, I've got one of those too and it has more power than you're ever likely to need on a typical pub/club type gig.
  11. Do you count when you play?

    I've spent a lot of time playing in rock bands over the years where driving 8ths are often what's needed from the bass. As such I hadn't put too much time in over the years working on counting, but that is something that I have been working on the past few years. A great, simple to understand book and CD set that has really helped me to get to grips with counting over the years is Bass Grooves by Ed Friedland. The book explains the theory and the CD contains some examples so you can listen and play along to really understand what's going on. It has certainly been a massive help to me so might be worth a look, perhaps?
  12. First topic on the new site!

    Hats off to you guys for all your hard work updating the new site! Part of my day job involves the validation of post migration systems from an end users perspective, so I fully appreciate the complexities of the behind-the-scenes 'fun' that you've all been having
  13. I don't get compressors

    [quote name='Jus Lukin' timestamp='1510327779' post='3405657'] That is how they are most used! They can be used to noticeably alter the envelope of the sound, but most of the time a comp is used to make the bass more consistent in the mix, without a perceptible change in the 'sound' of the instrument. The majority of compression is [i]very, very[/i] subtle indeed. A good way to get a feel for the difference is to play half a set with one on, then turn it off half way through. You may not notice much when you turn it on, but you may realise what you lose when it's gone. Nothing wrong with not feeling the need though, if you don't experience any benefit, just ignore them! [/quote] This sums up compression (at least the way I use it) perfectly Al Krow, in response to your post #34; (1) I've never been entirely convinced by this point of view. Yes drive pedals compress your signal but I'm not convinced that they do it in the same way that a dedicated compressor does. Or at least not as efficiently. No doubt someone with far more knowledge on the subject can explain the differences, if indeed there are any A dedicated compressor will give you much more control and will allow you to get clean compression without any colour from the drive circuit. (2) I agree with the first half of your sentence but not the second half. An even touch is all well and good but I'm yet to be convinced that a good technique is as efficient as a good compressor for keeping things even. But I'm happy to be proved wrong on this. (3) You're in the right ball park with this one . A limiter is a compressor with the ratio set to infinity i.e. the ratio acts like a brick wall that no signal spike can smash through. So yes a limiter is perfectly suited to slapping.
  14. I don't get compressors

    [quote name='elephantgrey' timestamp='1510303966' post='3405388'] I think that every compressor worth its salt would have: input volume, threshold, ratio (atleast a switch, but preferably a pot), attack, makeup gain (output volume), and metering (either a row of LEDs or one that changes brightness). I don't know how you could set up a compressor to do what you wanted without any of those. [/quote] I've used a number of compressors with metering over the years but I much prefer to use my ears to find the sound I'm looking for.
  15. [quote name='alexclaber' timestamp='1510232194' post='3404814'] [/quote] That's possibly the funniest thing I've seen all year