DBerriff

An even quicker solution is to connect the effects-out from the main amp to the effects-return on the other. This assumes the slave amp has a master volume control after the effects return.

There is no guarantee the speakers will be in phase with any of this. I suppose there is a small chance of an earth/ground loop with either solution.

[quote name='bassman7755' timestamp='1459603847' post='3018015']


I wasn't referring to tone or sound quality, just raw capability to "move air" for want of a better term. By this measure I stand by my statement that old TS cabs are "sh*te" compared to decent modern cabs.
[/quote]
I can agree with that. In fact I have played through TE gear and found it to be true.

One man's sh*te is another man's character. Not literally, of course.

A "problem" with the more hifi speakers is that they do not add character. This caught me out when trying a new 12". A bit underwhelming at home but it sang out on my first gig when I could turn it up a bit. If you like more character the Barefaced 10" range adds it. I only mention BF because it is what I have.

There are many great options out there, not just BF I hasten to add. It is a small but competitive market and that has been to our benefit as the speaker manufacturers have continued to improve the drive units.

I had one of their combos with a 15" speaker, but that was at least 10 to 15 years ago. It sounded great, but was too heavy for me to lift easily even then. The other problem was that the cooling system was the noisiest I have come across; ok for a gig but annoying for anything else. Practicalities meant it had to go.

PM sent...

[quote name='maldy' timestamp='1459341041' post='3015587']


Was it a black one? I had my eye on that, but it disappeared before I had a chance to get it! Luckily, another one has appeared on the site now!!
[/quote] Blue with rosewood board.

Apart from strings (as for any instrument shop!), I find BD's prices competitive. Some of the special offers are outstanding; I got a brand new Stingray (model with gig-bag) for well under a grand. It's a great bass, too.

We had a few issues in my last band and my experience is that they do not go away, even though there might be temporary "reforms". I left the band. You really have to decide what your personal standards are and who you want to work with. The trouble is we bass players so often put the music first and put up with the cr*p. I have done it myself.

I have recently bought a Super Compact. Initially I was a bit disappointed at home/practice volumes, probably because it lacks the colour the Barefaced One 10s have. I finally got to gig it this weekend and that is when it comes into its own. If you are getting a Twin then you clearly need the deciBels and it is on a gig when it should sing out. So my advice is do not jump to conclusions but to gig the speaker and then decide. As for me, I am keeping the Compact.

I'm with ikay on this, having recently bought a new Ray, untouched, from Bass Direct. They opened the shipping box in front of me and it was not setup according to their own FAQs.

He might have fitted one of these:

http://www.stellartone.com/Page.asp?NavID=318

and retained the original pot/capacitor. Bass Direct sells them.

I started playing big band jazz for the first time when I was 52 and joined a soul/rock band for the first time when I was 55. I had played in the orchestra at school, but after that work and family just got in the way, apart from my lack of self-belief.

At 66 I have just joined a new big band after a year out for personal reasons, and they seem to want my experience. My observation is that things get a bit more difficult once you are in your 80s, but otherwise go for it. I can only suggest is that get out to see bands playing, and push yourself forward. I think you have to accept that the opportunities available might not be quite what you are looking for. I had little interest in big band music before being asked to join in; now I understand and love the genre.

I should add that being able to read is essential for what I have done, although even a basic 4-in-a-bar will do for starters. I don't suppose anything beats experience, but being able to read helps too.

P.S. painfully of date here, and I don't care any more what anyone thinks...

D class amps are lighter for a couple of reasons. The main one is that they use switching transistors - on or off - and are very efficient so generate less heat and need less in the way of heat sinks and cooling fans (although most apart from Tecamp and Acoustic Image seem to have fans). The second reason is that they are usually combined with a switched-mode power supply that does not need a traditional, heavy mains tranformer. The early class D amps did not sound so good, allegedly. Since Bang and Olufsen released their ICE modules the case for class D solid state amps has become quite compelling (not everyone uses the ICE modules, but many makers do). I suppose that for some applications, the classic Class A/B valve and transistor amps might sound better, but for gigging no one has ever complained about the Class D amps I have used (Euphonic Audio, Genz Benz, Tecamp and now Genzler).

If you don't want heavy then Class D is the way to go. Bass Direct (the supplier I happen to know) has a good range of amps to try if you can get to Warwick.

It had gone when I put in an offer.

Mark is a man of quick decisions. He listened to my requirements, thrust a Mike Lull Jazz into my hands and let me try it, then said "now try a 5-string" (Lull again). That was it. I still have it, and my bank balance has long since recovered. "Should I try anything else?" I ask. "No, you will only get confused". Damn, he was right. Flash sales technique: no. Professional advice: yes.

He is pretty good at selling used gear too - I have sold quite a bit, and as usual come to regret some of it too. But that was my fault.

PM sent.

I have used a pedal case like the one you show and I found the pedals did not stay in place with any sort of knock. I also found the felt liner lifted off the case base after a bit. In the end I made a simple wooden framework following the pedal train layout and used proper Velcro tape, and also cable ties for the power brick. This was a tight push fit in the base and generally worked. These days I just use a Pedaltrain Nano and a cheap TK Maxx rucksack for everything else.

We all have basses we wish we had not sold but I miss my JB-2 (Hutton bought it) and to a lesser extent my SB-2 which had to go when I moved to 5-strings (part of keeping domestic harmony: 1 in, 1 out). I don't expect to ever replace my JB but is there any love for the LB100? I have seen a rather pretty used one up for sale and I am in credit domestically. It is never going to replace the JB but I do like precisions.

He is less than half my age and new to big band jazz so hopefully we can help each other. We have our first gig a week Saturday and can get to know each other a bit better then. You will not believe this, but the drummer seems to be a real gentleman too.

I think you need to read the claims in context. All the posts I have seen do that. What I do conclude though is that amp power figures are quoted to many different standards.

Yes, the Twin could bury the One 10 and me as well. But as we are both playing at volumes appropriate to the band he is indeed a very polite young man. I think we are going to get on just fine.

[quote name='tonyclaret' timestamp='1457763669' post='3001596']
Wow just stumbled on this thread.

Intrigied to hear more on people's experience with them.

I just can't believe they'd compete in a live band situation.

Was going to get a TKS S112 but may consider this instead. Which would be loudest?
[/quote]
Hi tony. I have been using a single One 10 with the Puma 500 I bought off you and with a 15 piece big band rehearsal it is not even breaking sweat. I was asked to turn it down last week.

It is quite a turn around to see the guitarist struggling in with his Fender Twin amp while I waltz in with this tiny cab and pull the Puma out of my gig-bag pocket.

While a thumb pick might be a good move in the long term I find they feel very unnatural to start with. I find a large guitar pick much easier when switching. I'm not saying don't do it but simply approach with caution. To some extent it depends on how you shape your plucking hand (I typed that carefully). Most guitarists anchor their pinky on the body; I have never been able to do that and end up with a floating hand which probably does not help.

I have one of his switch boxes and it is simple, rugged and well made (good, neat soldering). This is not to say there aren't other options out there.

All the above and I find a sports sweat band around my wrist helps.