Osiris

It even comes with a handy little attachment that could be used to give your coat a quick going over before you leave Hooverkill???

Kind of. Made me laugh anyway

Loads of people have influenced and inspired me over the years, mostly bass player but a few drummers and other instrumentalists too. But as a bass player, I've always been drawn towards the players with a great sense of melody, those who play a line or riff that you hear once and can still hum it to yourself months later. It doesn't matter if it's simple, the feel and melody are more important to me than the technicality of a riff or the number and sequence of notes it contains. For me that means guys like Peter Hook and Bruce Foxton.

An update to the original review after a year of gigging the Magellan's. I've been gigging both the 800 and 350 for around a year now and have played some 40 or so gigs with one or the other of them in that time, as well as numerous rehearsals. The honeymoon period is well and truly over now and any flaws in the amps have had time to makes themselves known … … Except they haven't. I still cannot fault these amps in any way, and I still stand by everything I said in my original review; They are infinitely flexible and can very quickly and very easily give you any bass tone you're ever likely to need (with the exception of very high gain distortion). The pre-amp is so simple and intuitive, and the EQ points are set exactly where you need them in a live situation to allow the bass to cut though a busy mix. The DI is noise free. The anti-Class D league will have you believe that lightweight amps means lightweight tone. That is simply not the case with the Magellan's, there is a real weight and depth to the tone. Although I prefer the 800 purely because of the drive channel - which I still cannot praise enough - be assured that the 350 is more than up to the task of gigging alongside a noisy drummer. In short these are simply brilliant amps, everything about them is just right.

That makes 2 of us now The county can also lay claim to being the home of Bauhaus too!

@dave_bass5 how to you find the natural amount of compression with the SpectraDrive without the SpectraComp? To clarify what I'm asking, I've always loved the sound of the Tech 21 stuff, but having owned both the BDDI and the VT bass much as I loved the fundamental tone of each I found them both way too compressed for my tastes and as a result have moved both on. I use the stand alone SpectraComp pedal and have nothing but praise for it. Obviously on the SD the compression is variable but I wondered if with the SpectraComp off, or at least on a low setting, whether there is any additional squash going on like there is with the Tech 21 stuff or if the sound is more natural, i.e. with no additional squashing going on. If that makes sense?

Looking forward to hearing what you think once they arrive. Keep us posted!

There's also a quad driver model on Amazon UK too for £48.99. https://www.amazon.co.uk/Yinyoo-Earphones-Headphones-Detachable-microphone-Black/dp/B0779QG4CG/ref=sr_1_13?ie=UTF8&qid=1523610984&sr=8-13&keywords=KZ

Regarding the KZ headphones, the link above is for the KZ ZS10 set, Amazon UK has a number of different KZ models (although I couldn't find the ZS10's) including some dual and triple driver models all at under £50. They seem to be getting generally favourable reviews too. Amazon's no quibble returns policy means that it might just be worth taking a punt. Any takers??? https://www.amazon.co.uk/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=KZ+&rh=i%3Aaps%2Ck%3AKZ+

If that's what clean living does to you I'm off to find my next vat of toxins.

I've just downloaded this and had a quick play on my MS-60B and it's great, so simple and intuitive to use and much easier for editing than the limitations of the Zoom interface. Hats off to the guy who developed it Just need to figure out a way to drag my desktop along so that I can programme the pedal at a rehearsal

That part of the body would actually be almost entirely obscured by the end of your strap. I doubt if anyone else would even notice it when you're using the bass on a strap. Considering the savings to be had compared to the cost of the same model in immaculate condition I could happily live with it in your shoes if I wanted it - which I don't as it's not my thing

Just completed a transaction with Gav and it was a pleasure and a doddle. Great comms throughout, he's a knowledgeable and funny guy plus he also paid promptly too. Really can't add much more than that other to say you can deal in confidence with him

Yes indeed, I'm a big fan of the M-Comp model too, I love the way it it adds that mid range punch to help the bass cut through a busy mix.

This is Basschat. What did you expect???

Ostensibly being one of the cloth eared in question, I'm intrigued to know how arrived at this assumption. Do tell.

Interesting. That's not something mine does though, so it could possibly be an issue with your particular pedal?

This is a difficult question to give a single definitive answer to, unfortunately! I'm sure that the likes of 51m0n and Skol can give you some far more informed advice than I can here but here's a few pointers/guidelines to help get your started. There are many variables that can have an impact here e.g. the instrument you play, the type and amount of compression you want (i.e. just a touch of dynamic control, some tonal shaping, say a punchy mid-range, the other instruments you're playing with etc.) Setting up compression can be very difficult especially if it's just the bass in isolation and not playing along with other instruments. This is where I suspect some people think it's not doing anything and then set up so they can noticeably hear the squash, but by that time you have killed all of your dynamic range. Try setting it up at a rehearsal when playing along with other people as it'll be easier to get it right without completely flattening the bass dynamics. The main thing to listen out for is a consistency or evenness of the bass throughout its range in the mix, so the low notes are not overpowering and the higher notes stand out and are clearly audible too. Your lowest notes will will be as even as the highest ones. The Threshold is the point at which the compressor starts to squash; anything exceeding the threshold will be compressed, anything that falls short of it will remain uncompressed. For me, I like to have this set so that the compressor kicks in on the lower notes to stop them overpowering the higher notes. The Ratio is the amount of squash that is applied to the signal once it passes the threshold. Too much and your bass gets too squashed, too little and you may find that things are still uneven. Getting the Threshold and Ratio right are the main things to focus on for now. Try experimenting with the extremes of the range of both the Threshold and Ratio so you get a feel what each of them does. Once you understand what's going on start backing them off until you find the point where they are enhancing the bass and making it more consistent in the mix but you still have dynamic range and subtlety. It's not an easy thing to explain what exactly to listen out for but once you have found what works for you, you'll start to be able to hear and feel it when setting it up for another bass, for example. Things like attack and release times and hard/soft knee setting are also important but I'd focus on the threshold and ratio for now. Hope this helps