MartinB

Keeley Bassist. A lot of money for a pedal - and they've gone up by another £50 since I bought mine - but it does its job extremely well, doesn't alter tone, and is dead easy to dial in. I also started using it for general compression (instead of limiting) when I joined a second band. Since I was going to be playing with a pick most of the time, and that's not something I'd done much before, I thought it would help to smooth out my level a bit while I got the hang of it. What I've found since then is that I actually really like the extra punch that the compression gives - the initial attack effectively gets emphasised, because the rest of the note gets de-emphasised.

If I didn't use a limiter when playing live, then every time I got to a bit with slapping/popping the audience would be deafened by massive volume spikes.

A decent office chair. It took years of sitting in front of the PC on a crappy Ikea folding chair for it to occur to me that I should get something with some actual padding... and lumbar support... and adjustable height... etc.

Seems like the Standby switch is labelled backwards, which is why the the "Quick Start Guide" in the box: appears to contradict the "Owner's Manual" on the Ampeg website (https://ampeg.com/pdf/PF-50T_PF-20T_OM.pdf): If the Standby switch has "O" depressed, that means the amp is on standby. Easy enough to tell once the amp is powered, because the light is red - but hard to guess before you switch it on! 😆

Worth noting that although I asked for it to be sent to my work address, it actually came to my home address. Crossed wires since it's coming from the distributor rather than the retailer I guess. No big deal. When you get the "out for delivery" email from DPD you can check this and divert it to a different address.

My PF-20T has just arrived. I've only taken it out of the box so far - anything else will have to wait until after work. But I can confirm that it is real, and we haven't all been scammed with a box full of bricks 😄

There are definitely people out there gigging with them, but whether or not it'd work for you is hard to say - there's so many variables. How many speakers do you have, and how fancy/efficient/boutiquey are they? Are they just for monitoring? How loud is your drummer, on a scale of jazz whisperer to shed builder? How many guitarists are on stage? Do they get along? Do you always have PA? It is any good? Does the engineer know what he's doing? And so on. It's got a line out, so in theory any gig with adequate PA and monitoring should be fine. But if the only source of bass noises in the venue is your amp and cab(s)... 🤷‍♂️

Yup 😊. I've just had the email to confirm. It's being sent direct from Ampeg. Maybe the new management (Yamaha) are planning to discontinue them, and they're clearing out the warehouse? 🤷‍♂️

When I work up this morning, I didn't think, "Today I'm going to buy a tube amp!". And yet, here we are. 💸

Love the idea of a little PF-20T for recording... if only I ever did any recording! 😁 £299 seems like a good price (https://www.kennysmusic.co.uk/ampeg-portaflex-pf-20t-20w-bass-amplifier-head), though "Available to order" might mean "no chance".

I haven't had any problems with the EBS ones, but I've seen a few people saying the Warwick ones can be noisy.

I love tort on black, but for me it only works with a dark wood fingerboard 🤷‍♂️

Some good discounts have just appeared on these! https://mackie.com/products/onyx-series-usb-interfaces Gear4music and Amazon have the Producer 2.2 for £69 Gear4music also have the Artist 2.1 for £45

People sometimes modify the pitch, the speed and (for videos) the aspect ratio to avoid Youtube automatically recognising and blocking their upload as copyright infringement. Though in this case the "official" upload on Youtube and the version on Spotify also sound the same, so it seems like the original recording is probably just wonky. Used to happen a lot in ye olden times when they'd fiddle with the tape speed after recording - seems unusual for an album from 2006.

There's a Trace 1x10 up on Gumtree at the moment - can't tell what model it is, but it's a bargain price! https://www.gumtree.com/p/other-guitar-accessories/trace-elliot-bass-speaker-/1304450888

If you don't mind visiting the other bass forum, former Genz Benz man Andy Field (https://www.talkbass.com/members/agedhorse.68399/) still actively answers support questions on there. Try this thread: https://www.talkbass.com/threads/official-genz-benz-club-v2.814179/

I couldn't tell you exactly what "my sound" is, but the day I first tried flatwounds I knew I'd taken a big step in the right direction.

I'm not calling out anyone in particular, as I've come across this with multiple different bands and promoters. It's just puzzling. A promoter is putting on a gig at a small venue (<250 capacity). They have their online ticketing set up. Any normal person who wants to go to the gig is going to buy their ticket on the web, and their name will be on a list when they arrive at the venue. Either that or they pay on the door. Simple, secure, no chance of losing a ticket. Why, then, does the same promoter want to send a book of paper tickets to every band on the bill, and ask them to attempt to sell them directly to punters? Why would any customer choose the extra hassle of getting in touch, arranging payment, and waiting for physical tickets to turn up in the post? It's effort for them, it's effort for the band, and given that online ticketing is set-and-forget, it's no reduction in effort for the promoter. It's not about attributing ticket sales to the different acts. This is 2018 - you give each band a slightly different ticketing link with an attribution code in it, or you just ask each ticket buyer which band they're most interested in seeing. This is usually what happens for sales on the door. To be 100% clear: I am not talking about pay-to-play. The bands are not asked to buy the tickets and re-sell them. There's certainly some pressure along the lines of "we need you to sell x tickets", or "if you sell y tickets, we'll book you for another show". But this has no bearing on whether the tickets are virtual or physical. Does anyone have any ideas about this? Is the industry just a bit technologically backward, or is there a scam element that I'm missing?

I think active PA speakers tend not to have more than a couple of inputs. You might have better luck looking at keyboard amps. Here's an example (not a recommendation - I haven't used it): http://www.laney.co.uk/products/ah80/

Very cool - thanks for sharing!

I got one of these as my first amp back in 97. Still use it for rehearsals - we run a mini-mixer into it and it handles bass and vocals.

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Love having the chrome on my Precision. The bridge ashtray is functional as it's got a foam mute underneath. The pickup one just looks nice! The pickup cover took a little bit of getting used to, as I was in the habit of using the pickup edge as a thumb rest.

That's how it starts...

Vulfpeck minus the cheesy keys and vox? Yes please!