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Bill Yellow

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  1. Thanks for that, Oops. I'll put Dava on my checklist. I like the look of their Rock Control ones, too, with delrin tips.
  2. Look, I really don't need to hear about everyone's favourite bass pick, but I do want to know what I might need to experiment with. When I first picked a pick for bass use, it was the Dunlop big purple triangle. But moving to a different genre, I tried a number of other types. What I found was that I really got on with the Big Stubby shape, with the indented thumb grip. I imagined the thicker ones would be right but the best feel and flex for me was the 1mm hard red Big Stubby. Now, I'm finding these are prone to split in half after a week or so of use. In recognition of this weakness, it seems Dunlop have re-engineered the Big Stubbies in grey nylon. Same positive feel, but lacking the crisp click of the boiled sweetie material. So, is there a plectrum out there that has the sort of contoured thumbgrip of the Stubby (not just a bit of texture on a flat surface), flexes a little in use, is in a bright sounding material, and won't snap on me?
  3. Years ago I bought a couple of specialist over-voltage PP3 type rechargeables, along with the special charging station they needed. This was just to use in an A/B switching pedal. Unfortunately, in that application they were entirely inappropriate and drained down in less than an hour. ☹️
  4. I cut the mids a little with the frequency set about 8 o'clock. Also eased off the lows and increased the highs similarly.
  5. I use stringsdirect.co.uk. Very reliable, good prices, fair amount of choice. And they usually pop through the letterbox the following day. For some of the American strings, look out for the Amazon Global service where it is possible to pickup multibuys and other US only offers at silly prices, but on the UK website.
  6. I think Rotosound may have dropped the ballend silks from a number of their strings now. Certainly my SM66N set were only silked at the top despite Stringsdirect describing them as topped and tailed.
  7. Apologies if a lot of my review was on minor points. Mainly because I am still using it at home at miniscule volumes. I couldn't find much online from the Blacsktar chaps about what went into this gear, apart from the marketing spuff. The 'classic' preamp voice plus the '6550' main amp voice, plus a bit of compression really does give me the sound I'm looking for. It is quite possibly an SVT sort of sound, I wouldn't know. And maybe there is a bit of clever modelling going on to give me that. Like I said, at some stage I will test alongside 2 driven guitars and a drummer who constantly says he can't hear the bass. If I can get to the rehearsal studio, I can compare it with their 4x10 rig. So, more to come hopefully.
  8. Another fun fact: Plugging headphones in for practice does not mute the main speakers. So I'm there noodling away to myself, wearing big closed-back headphones and thinking what a nice full sound it was. And I couldn't hear the neighbours knocking on the wall for me to turn it down. Note to self: Always turn the main volume to zero before putting headphones on.
  9. Note: This is my initial review - I have only had the amp for a couple of weeks. Not yet tested at full band sound levels. So, I was looking for a fairly lightweight 2x10 combo with at least 500W power, able to hold it's own in a 5-piece rock band. (Upgrading from a 1x12 120W combo.) The main competitor at this price/performance point is the Fender Rumble 500, with the Ampeg BA-210 and the Ashdown RM-C210T amongst the others to consider. However, the Blackstar is the only one that gives you the full 500W RMS through the built-in speakers. All it's competitors give around 300W into the internal 8 ohm load, needing an additional 8 ohm cab to give the advertised power. I have no basis to say whether that means the Blackstar is louder or in any way better - but it's good not to have that sneaky suspicion that I need an extra cab to get the most from my amp! And to be honest, price was a big factor for me. Whilst at the time of writing, the U500 was selling at £679 on most UK sites, Andertons had it priced at £499 (lower than the 200W 1x15 for some reason) - and they had a voucher code in August that made the final price £419. So, I was saving £250, and for that price should really be comparing it with something much smaller. Anyway on to the review... Headline: This is a tidy, portable, true 500W digital combo with some useful preset EQ shapes. It makes for a fine, clean, pedal platform. The U500 has an understated vinyl covered cabinet, not unlike the fender rumble, with a blackface cloth grill. Which I prefer to a rattly metal front (although those can be more practical). The control panel sits along the back of the top, behind the single soft handle. There are ins, outs and ventilation grilles at the rear, along with some fiddly little knobs and buttons (of which more in a moment). It weighs 22kg, which is the same as my old 1x12 - although it is of course a bigger box. There are a pair of Eminence Opus 10" speakers in there, so nice to know it's not just some general purpose tat - no horn, though, if horns are your thing. I am really enjoying it, and hope to report later in this thread how it fares in the real world. But I need to air a few criticisms... So the knobbery is not very consistent in my opinion. Some things are set on big knobs (calm down, Matron!), some on teeny-tiny fragile-feeling metal toggle switches, and some on little twiddlesticks or pushbuttons on the back. Why are the 3 preamp voicings set on a teeny-tiny switch but the 3 power amp voicings on a big knob? Why is the 'drive' blend on a big knob but the other effects blends on twiddlesticks at the back? Why did I put quote marks around the word 'drive'? I will tell you. But first, about the voicings. These seem to be not fancy modelling things that respond to every nuance of your playing, but are pretty much preset EQ shapes that even affect what the EQ knobs themselves do. So there are 9 shapes overall. I settled on Classic/6550 which kind of made it sound like there really was a horn in the cab, but still had good depth. Other settings seems to give more of a big bottom. Which will suit those who like more of a big bottom. Or clean. That's another one. Some people like clean. The leftmost knob is Gain. Play the loudest thing you can, with the loudest pedal effect you can (sub-octave is a good choice), and turn this down until the red clipping light never comes on. And I mean never. Because this is Digital clipping, and as soon as that lamp comes on, you won't get a gentle warmth; you will get a sudden, immediate bit-blasting of your signal. OK, but keep below this and you can do pretend analogue all day. There's plenty of headroom in the amp. The next knob is called 'drive'. It is not drive, it does not sound like drive. It does not behave like drive. Keep it at zero. What it does is it blends the sound of a jar of bees to your input signal. It does not dirty or warm the input signal itself - you can still hear your pristine input with the bees added on top, but somehow disconnected. You can toggle a little switch to choose between calm bees, edgy bees or downright angry bees. And why not, if they're trapped in a jar? But it is clean sound blended with bees, not the clean sound itself modified. Keep it at zero and use the drive, distortion or fuzz pedals of your choice. This amp seems to be quite happy with pedals in front. What else can I mention. There's compression on a big knob and a teeny switch. There are chorus and suboctave effects, but not both at once, selected with a lil'switch. These cannot be tweaked, other than to mix in the amount of the effect using the tiny twiddlesticks at the rear. And that will not be possible during an actual gig. The chorus is probably useable, and the Blackstar does this thing where if you are using headphones, the chorus comes through in stereo. It's a way of making you want to practice at home more because you sound so amazing and mega and swirly. The suboctave, however, is in entirely the wrong place in the signal chain, and the tracking is unusably bad. I have had Southern Rail trains arrive before the suboctave kicks in with the note I'm playing. Again, thankfully the amp works well with octave pedals in front. Final gripe. There's a flimsy little footswitch to turn off the 'drive' and chorus/octave effect. Note that I said turn off. Every time you power the amp on, these digital doodaddies are on by default (if you have not tuned them off at the panel). And there are no lights on the footswitch, so the only way to know for sure the built-in effects are off is to disable them or not use the footswitch. So, Blackstar, nice amp. But take the bells and whistles off. Please.
  10. And by the way, is there an Android app for this board?
  11. Ha! Not even close and much more convoluted. But I like your approach 😀
  12. Well, I was happy just playing bass occasionally at church. Now joined a rock covers band and having to invest a bit more in gear, and of course time in learning rock songs. Eventually we might get enough repertoire to make a demo and get some rowdy pub gigs. What joy! I use an old US-built Peavey Foundation bass. Which had some dodgy electronics and just didn't make the cut for a rock 5-piece. So I had the J-style pickups swapped for US Bartolini Classic humbucking soapbars (passive electronics, with coil split on the tone control). Now it really makes its presence felt and has plenty of tonal variety. That's enough for now. Oh, and hello everybody! B.
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