nilebodgers

The 700AS1 is internally bridged according to the data sheet. It just isn’t explicitly split into stereo channels like the 125asx etc. (see https://doc.soundimports.nl/pdf/brands/ICEpower/700AS1/ICEpower700AS1_Datasheet_1_8.pdf page 22)

The info I could find for those Connex modules was sketchy in the extreme, so no idea on the topology. Are they not already bridged internally like the Icepower 200/500/800w modules that almost everyone uses?

It’s just clueless nonsense. Any tech worth their salt would have a high-pass filter and a compressor/limiter on those channels to protect the system if they were concerned about what might be sent.

Absolutely not, no chance of my good basses being lent to anyone. I’d lend a beater/cheapy to a friend though, no problem.

I went from a MIM Standard Jazz to a MIA Professional Jazz (v1) and I don’t reckon there is much of a difference in sound. The MIA jazz does feel much nicer to play and of generally higher quality. I couldn’t have justified it buying new, but s/h wasn’t so bad and it was worth it to me. I will probably keep the MIA instrument for the rest of my playing life and never feel tempted to upgrade.

This exactly. I can’t stand either solo bass or bass solos. I am also a sucker for a catchy pop tune. Bonus if it has a good grooving bass part.

This. In pro PA world switched mics are tucked away in techs toolboxes. If it goes up on a stand you can guarantee that the "talent" will switch the mic off before attempting to sing or speak into it...

The 58 shorts the capsule before the transformer that provides the balanced output so doesn’t pop. I don’t know about cheaper mics.

They have the B2 6mm plain shaft version too. The shipping is pricy, but it’s a specialist part from a supplier that isn’t set up for small orders, so understandable.

Can’t really go wrong with a switched 58. Provided it suits your voice, of course. I carried one around in my gig toolbox for years as my talkback mic.

That’s a good idea. We are using the tune of O Come all Ye Faithful with specially written lyrics for the Jubilee event, so I intend to pilfer all the best bits of the bass keyboard part to create a version to work with guitar backing. I like it when the traditional tunes have bass counter-melodies and non-root notes over the chords, much more fun than a lot of modern tunes that can be rather obvious and plodding.

I still got good cakeage, but not until the end of the service. Fortunately there was home-made banana cake and muffins left which went very nicely with a mug of tea. The music turned up late (2 songs Friday night, 2 Saturday night), but still enough time to grab a listen to versions on YouTube. Fortunately the best guitarist/leader is a wizard with a capo and substituting odd chords so we could play off the sheet music with no issues. It’s all about the congregational singing anyway, so a few flubs in the music is irrelevant as long as we are confident and keep going! Went well, all considered and everyone was happy with the fuller sound of the music. I loved it. I also got volunteered to play at an open-air public service we are doing for the Jubilee as part of the local celebrations. That will be rehearsed though.

It always sounds thin and clacky when I try playing with a pick. I’d like to be able to do it, but it just doesn’t work for me.

Oh dear, I've volunteered myself to join the random group that plays at the monthly informal "Cafe Church" service at my little rural church. Just a couple of acoustic guitars and now with me too on bass next Sunday. Nearest thing to a gig I've done in a very long time. Hope it doesn't cut into the amount of cakes and tea I usually consume at that service...

Lol. Reminds me of the John Meyer PRS Silver Sky - i.e. a strat with a PRS headstock. This is a Jazz with a MM headstock. oops, duplicate.

Lol. Reminds me of the John Meyer PRS Silver Sky - i.e. a strat with a PRS headstock. This is a Jazz with a MM headstock.

Careful though, they can use generic cone replacement kits if the original part is hard to get or unavailable. The recone might not be close enough to be an exact replacement, but they should advise if that is the case.

It’s in the slide out menu triggered by the “3 lines” menu icon.

Just a late addition to my experience with flats so far (Roto rs77). It has been going well, but I noticed that the octave G on the E string had an odd effect where the fundamental note decayed very quickly. It was only this note on the E string, no-where else. I wondered if the string was a bit iffy. I fiddled about with tension/untwisting etc to see if I could get any clues and finally when I pressed the E string down hard at the bridge to reinforce the witness point the fundamental note started to decay normally. So, user error, not the string and easily fixed. Odd as I’d already set the witness points in the same way as I have always done with rounds and they all seemed fine. The flats simply appear to need a bit more care on installation than rounds to get them right.

Yes, gaffa leaves too much gunk behind. White electrical insulating tape (LX) is what was universally used when I was behind a desk.

I dunno, I'd always want to see the serial number as part of checking that the bass was genuine. Especially on something as easy to pass off as a Fender bitsa.

Yes, a bigger resistor is very cheap. Back when I did some serious design on PA speakers I used the 20w axial ceramics (paralleling when I needed more safety margin) and they survived years of thrashing without a single failure.

Agreed that it’s always better cabled, but I found if the mains circuits are off the same consumer unit there is no problem and I never saw any mains noise pollution issues with the Tp-link units I used either.

This. You might find the Ethernet over mains adaptors work well too, they did for me in my old house where I had a workshop at the end of the garden.

What is Peter Kay doing on bass? Is the comedy game a bit slack at the mo?