tonyf

^^^^^^^ What they said!!!

I've had both the M13 and the M9. Both really fabulous units. True bypass so they don't mess your signal. Some real quality stomp box models in there. For bass, the modulations, reverbs and distortions are great. Some of the filters are good, some not so. The synths etc are more than passable but as I don't use many, can't comment. For me, I was only scratching the surface of the M13 so I swapped it out for an M9 to save the real estate on the floor board. It's been a constant for the best part of 3 years which for me, is a LONG time. Love the immediacy of it, being able to tweak on the fly. Like you, I had no need for modelling, hence the M9/13. With everything, it's all about personal taste. Just because the M9/13 suits me, may not suit you. Get hold of one and try it. See how it sounds and plays. Let me know if you need more help. Cheers T

I've got an M9 on my board. Use mine for the modulations, EQ's and pitch shifting mainly, but the tuner and mute comes in real handy. There's a whole lot of other stuff in there (the delays/reverbs, the envelopes and looping etc) that I just don't need for my gig. It's a great piece of kit. True bypass, sounds fantastic and really easy to use.

IMHO, the Bartolinis are really quite a bit different to the EMGs. If you're after something different, the Barts (amongst others) will give you another option. However, if you're after the same tone as you've had before (if it ain't broke, don't fix it), I'd stick with the EMGs. Having used them in most of the stuff I've owned over the past 20 or so years, they've been really consistent over the years. The older ones are pretty close to modern off the shelf versions. I've got a roadworn 30 year old PJ set in a bitsa Precision and they're almost identical to the solderless set in my newish Spector. HTH

For me, for the gig I do (function wedding R&B soul funk band thing), it's absolutely essential. My Swan Flight board has a lot of stuff on but I've spent a lot of time tweaking and experimenting to get the right blend of things. The most important is the EBS Microbass preamp which, over the past few months has replaced the amp. With IEMs, I no longer go out with an amp, it's straight into the desk from this. The rest of the stuff is for "texture". Envelope filters, octaver, a Microsynth and the Line 6 M9 does all the modulation and different EQs I need. Saves me arsing about with the onboard EQ. I've also got a TC Electronic Mic Mechanic and the Yamaha wireless receiver. Your pedals, like your basses, like your amp, like your anything else, is dictated by the gig. My gig involves me covering a whole lot of different styles. The Swan Flight case is brilliant. I've got the power run via a long power lead and taped together with the send and return leads from the preamp. At the end of the gig, I just unplug at amp/power end, wind it all up on top of the pedals and drop the top of the case on. Job done and I'm getting out of Dodge quicker.

I brought a Levis CM88 about 15 years ago. Paid an arm and a leg for it. In between time, it's done hundreds of gigs and even more rehearsals. Built like a brick out house and it's been the best investment I've made. The pocket zip has started to fail so will need a bit of TLC and there's a hole in the pocket which has been "fixed" with gaffa tape. Aside from that, it's got years ahead of it still hopefully.

Got them fitted to ALL my four strings. IMHO, really useful bits of kit. It terms of "best practice", there's been some useful tips above, the most useful being stretching a new E string properly, tuning to pitch and then the levering/unlevering/levering trick. One minor issue I've found is that if you gigbag your guitars, very occasionally the friction of the bag against the headstock and tuners will unintentionally move the little adjustment wheel. I've got around this by always making sure that the detuning is correct against the tuner when you soundcheck. A simple "belt and braces" check that takes seconds.

My [color=#282828][font=helvetica, arial, sans-serif]5 string ash-bodied sunburst V7 landed yesterday after ordering it from Thomann middle of last week. Was waiting for me when I got home[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]First impressions: it's an absolutely stunning looking guitar. A few minutes for some minor tweaks as I like my action a tiny bit lower than the setup out the box but nothing major on the setup front. The fact that I could get it REALLY low without any issues was great.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Sonically, the onboard EQ offers a lot of options. Love the sweep-able midrange. The treble opens up the top end without being harsh. Sounds really cultured.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Only time will tell with the knobs. Yes, they're a bit high but I've got concentrics on another couple of basses and the height is a necessary evil with the functionality you get. Maybe need to get a few gigs in to see if they're a problem for me.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]All in all, it's a lot of bass for the money. If I didn't know any better, I'd have said it was 3 or 4 times the price based on the feel, the tone and the construction.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Can't wait to put a couple of gigs on it.[/font][/color]

Looking forward to a "progress report" this morning at work #tarmacbassplayersassociation #foundermembers

[quote name='bigd1' timestamp='1446370983' post='2898783'] I've played a G&L ASAT for about 10yrs, don't know how they have a reputation for neck dive. Mine is well balanced, never had a problem with it at all. Yes they are a fantastic bass, very versatile sound wise with the switching system and on-board pre amp. [/quote] This ^^^^^ I've had a couple, a natural solid body and a amberburst semi hollow. Both absolutely stunning instruments. Both are classed in the "idiot to get rid of" categories. The balance issue was a non issue. As already mentioned, get a decent strap. I used mine with my Comfort Strapps and they never neck dived. The grip from the Comfort Strapps kept them in place.

We changed our A&H desk about three months ago and purchased a XR18. We've done around a dozen gigs with it so far. TBH, it's been such a great investment. We've been able to reduce our setup times dramatically as we're now in a position to save and recall settings for particular venues. The small footprint has allowed us to rack it all up meaning we can cart stuff around easier and safer. It's also made a world of difference with our IEM setup as everyone is now able to adjust their own mix via their own smartphones/iPads.

"Get down on it" towards the end of the set. Love that tune. We take it down and up, one of those real "in the pocket" grooves. Love it.

[quote name='fretmeister' timestamp='1438900432' post='2838629'] Bergantino CN212 Awesome. [/quote] ^^^^ this *and it doesn't look like it's made in someone's shed

Why not go IEM? Rather than spend the money on the monitors, invest in some inears (Shure do some good budget ones in the 215s, 425s and 535s) and the transmitters. Good cost effective stuff from LD Systems. The number of outs on the Mackie would mean you could easily get your own mixes. Plus, not only great monitoring but you're not lugging huge wedges around. Calling EBS_Freak for more expert help......

We've just brought a Behringer XR18 to replace our Allen & Heath. With the move to using IEMs, we needed something a lot more portable but with the extra outs so we could have individual mixes. Can't believe how brilliant it is. The ability to store mixes and recall them based on venue, individually adjust our own monitor mixes from our smart phones/iPads. That alone would be the killer but the small foot print and the amazing amount of effects and eq'ing. Brilliant. The couple of gigs we've done with it have blown us away.

These are awesome shots! Been looking at going FX. Either an used D700 or a D610. Used a D300 for years. Works great but does struggle a little under lesser lighting. I've built up a series of decent primes and got an awesome 80-200 f2.8 so maybe it's time I bit the bullet and splashed out on a D610.

I had used some Shure 535s for several months before I finally took the plunge (after finally taking EBS_Freak's advice) and got the 1964 Ears V8s done. The 535s are great for production IEMs. Real good sounding with good bass response, especially after I'd had the ACS sleeves moulded which made SUCH a difference. It's all relative though. By the time I'd got the sleeves done, plus the cost of the 535s, you're then approaching the cost of some custom moulds. Like Russ has said, it wasn't until I'd listened to the V8s compared to the 535s that I realised just how much difference the dual lows (and the proper moulds) made.