PinkMohawk

I *think* it's a sliding switch, probably recessed down so it's not sitting proud enough to catch on your clothes when you're moving around and playing. I actually prefer having it on a switch rather than a push/pull, but I'd rather it was on the front, though in the interests of keeping the front of the body uncluttered, I get what they're doing. Nice of them to make the gain trim pot accessible without removing the cavity cover too. Overall I like this a lot, though I'd like to see black hardware on the black one, chrome always stands out too much for me.

Having looked at the listing on Amazon, it seems like part of the price is from the digital lessons package they include with the bass, and apparently the body is thinned down from the usual to save even more weight. 100% a first bass type deal, which for the money, isn't a bad thing I don't think. Quality dependant, of course.

Well, I think the goal with these is less to just be a passive Ray, and more that it's for beginners. This is basically the Squier Affinity of Ray's. Or, it would be, if UK pricing was the same as US. To me at least, this is just their effort to move into that beginners market with a classic shape that isn't another P or J. I think it's a somewhat interesting proposition, but the international pricing is going to make it a challenge for them to move these, especially when there's a HB alternative for less money available. Annoys me that the black and maple colourway has the white pickguard, rather than a black one too.

Move this to the 'Wanted' section in the classifieds.

Sure, whole lot of people moving in this direction, using amp modellers either direct to the PA or power amp into cabs. I'd look at getting an amp that you like the sound of, and that also has an effects loop. That way, you can plug into the return of the loop with your Zoom, and should the Zoom ever fail on a gig, you can still plug into the front of the amp and it's not a show-stopper.

With the caveat that I'm not at all a flats guy, I found myself enjoying the TI's more than the EB's. I liked the extra midrange and the definition that they brought to the tone compared to the EB's.

I'm with Lozz, the white is just fine, but the tort does make it pop a lot more, much more of a pleasant contrast, whereas the white is looking a little too much like they both started as white, and the pickguard never yellowed like the finish did.

Nice, I think this is the way I'm leaning, unless someone shows me something mindblowing. Yeah I don't understand why it's iOS only, they're shutting themselves out from half the market with that choice.

How easy do you find it to set up a patch? Is it easy to copy a basic patch and add onto it easily, or is it a big faff?

I think the Boss is just too big for what I'm looking for, unfortunately. Though it is a good looking option, I do like the physical controls. The Zoom MS sounds like kind of a hassle to use as well, since I expect to be wanting to build quick patches using a few effects each, depending on what songs we're doing that week.

Not at Bath, but I'd be shocked if any modern uni was offering a music course and didn't have at least basic facilities like amps and such. I would recommend a small head that fits in the gigbag, with a headphone output too. She'll struggle making friends with her flatmates if she's keeping them up at night with noodling through an amp.

How do you find the workflow with setting up a new patch is with one of them? Or even just switching patches back and forth, they've always seemed a little clunky to me though I suppose that's the tradeoff when you want to have something that size.

Is the Zoom B1-Four still the king of cheap and battery powered multi's, or has anyone else moved into the space and started competing with them? I'm doing a club at my uni and if I can get something cheap and cheerful that'll just go in a gigbag rather than needing to bring my board along for rehearsals, that'd be ideal.

Unsurprisingly from Mr Fitzmaurice, absolutely correct. You lose all of those things when you DI. If that's what you want, great, but but I'll always prefer the sound of a mic'ed cab to a DI. And yes, FOH can always f*** it up, but, they can f*** up your DI signal as well.

There's absolutely no pro's to mic'ing cab ports. As for mic'ing cabs in general, while that might not be 'optimal', honestly, when I'm running the desk, I much prefer having some character to the sound. Ideally I've looked up the bands I'm working with and have a loose idea of what it's going to sound like, but if I don't, having a tone to work from, rather than just 'clean slate' is more likely to get me to something that sounds like the band wants to sound. Live sound isn't just about reproducing perfect tones. I'd rather mix something to sound interesting than perfect.

I've not played a Digbeth, but I've heard them and I do find I prefer the Laney sound to Ashdown. Not to say the Ashdown is bad, it's not, I've played a number of Ashdown's for quite a while, but I do find the Laney more of what I'd want from an amp.

I've been looking at picking one of these up in the near future, and I was wondering if anyone here has owned one and has any thoughts on them? I've heard that the stock preamp is a little rough, so I suspect that might be a candidate to get swapped out, potentially the pickup too? I'd probably swap the bridge for a black Albridge part too, but that's purely an aesthetic thing.

Oh I had one of those before my old bands van got broken into, it was pretty damn good as I remember it.

Yeah, agreeing with Tau, looks like it's just a sliding piece that pinches the strap button and holds on that way. No idea what kind of strength the springs would have since I can't quickly find a video of one going on or off. Personally, I'd just do straplocks, the few minutes of effort to swap your strap pins really isn't much.

What you're looking for is one of these: https://www.mundomusicgear.co.uk/products/airpannier Ideally you'd have a cab at the practice space that you can just get a small head for, but if not, you could probably strap the amp to the other side of the rack and it'd be pretty safe like that.

Yep, you're absolutely right, that's a brainfart on my part, I've not had to do the cab link thing for a while now. Don't know why I assumed it'd be a series not parallel wiring to both cab jacks.

Ahh one day someone will take the bloody thing off my hands. But yeah, having two 2x12's would be plenty for most bands regardless of how enthusiastic the drummer is. Always annoyed me how they don't just label one of the speakons as a 'thru' and just leave them blank instead.

It's not ideal, really. My recommendation is to get shot of the 15 and pick up another 4 ohm cab. With two 4 ohm cabs, you'd be running them in series rather than parallel, all that means is that you'd go: 8ohm output - cab 1 - cab 2. The reason there's two speakons on the back of the cabs is so that you can use one as a passthrough to the next cab. Of course, you could always just buy my Ashdown 8x10 off of me...

Could be worth a punt for nostalgias sake, it'll remind me of the garbage combo I got as part of my Encore bass starter package from Argos all those years ago. This pedal does a great job of replicating the sound I got when I whacked the volume up to full. Really get that 'speaker about to tear itself out of its basket' sound.