Paul S

Yes, I use a pick and the coating comes off pretty quickly where the pick strikes it. Easily fixed with a permanent marker pen. Not so easy to fix when it wears on the back of the string where it rubs on the frets. But they sound and feel great for my purposes.

Ah, thank you, that is beginning to make sense. I think I will read the instructions again, then try and find out more. Then come back with more daft question.

[quote name='Johngh' timestamp='1322504026' post='1451743'] Super super super Glenn super Glenn super Glenn super super super Glenn super Glennie Hughesey. He can still sing both Coverdale and Gillan under the table. Saw, and met Glenn a couple of weeks ago at one of his accoustic shows, superb. [/quote] I'm picking up here that you might be a Glenn Hughes fan. I am very much enjoying Black Country Communion at the moment in which his bass playing and singing are astronomical, guess you might like it too. The BCC version of Medusa - the vocal gets the hairs on my neck going!

[quote name='pete.young' timestamp='1322501955' post='1451671'] I think it's short for digital multiplex - it's basically a protocol that allows you to send signals to up to 512 lighting devices down a 3-core cable. Most of the lighting sets that I'm aware of use XLR sockets for DMX, so all you need to do is chain the units together and you can control them all from one laptop - usually you get a DMX box that plugs into USB on the laptop. There's a good primer on it here. [url="http://reviews.ebay.co.uk/DMX-Lighting-Effects-What-is-it-Hows-It-work_W0QQugidZ10000000001554234"]http://reviews.ebay....000000001554234[/url] [/quote] Pete - thanks for that. Sadly the link is written in a language I don't understand. I [i]think[/i] all I need to know is that the DMX controller is a magic box but need something in the same english to go on to explain how a laptop controls the lights. I can see how the sound reactive setting works in the unit to change the lights but, given the variable speeds we are likely to be playing at, can't see how you can program something like this in advance. Or am I missing the point somehow?

I am in 2 bands and, as been said, transparency is the key. There are benefits - drummer from band one decided to leave, drummer from band two stepped in - result! The rhythm section is now shared between both bands - we kind of fit around each other quite well now!

My opinion as a net consumer of basses and gear, if anyone cares , is simply 'caveat emptor'. Whatever I buy I try to find the best value on it - search the internet, whatever - so I know how much the 'market value' is. I then work out how much it is worth 'to me' and I won't pay over that - either above or below market price depending on what it is and how much I want it. Generally speaking if something I am after is offered up and it is too expensive I'll wait until a cheaper one comes along. They invariably do. But I see no point getting in a lather about it.

Again... memories... I saw them first of all during the 'Burn' tour when the new boys Glenn Hughes and David Coverdale (back when he had his own hair, nose and teeth - Deep Purple MkIII featuring David Coverdale Mk.I)) had joined the fun. I was right at the front of the stage. A naked woman ran on stage at one point and jumped on Richie Blackmore who, once he had overcome his obvious embarrassment, seized the moment and played the guitar on her arse. Pendulous breasts aside it was a superb show. Then again early into the Steve Morse era when they were down on their luck a bit and played at a small-ish (400 ) venue The Cliff's Pavillion. I think they played as loud both times! Roger Glover is probably the bass player I admire most - I love what he does. Sorry to wander off on one but, well, yes, happy days.

[quote name='JTUK' timestamp='1322403806' post='1450376'] [size=5][sub]I can't see the point of owning many more than you can't or wont or don't play.[/sub][/size] [/quote] In my case I have become interested in the minutiae of these middle of the road basses. Especially lightweight made in Japan/Oriental jobs. Like a lot of things in Life the interest has developed beyond the simple nuts and bolts of playing (for which they do the job admirably). I am sure I will move on - I usually do with my sideline interests. You should see my greenhouse! As has been said - horses for courses. If folks come by their money honestly I see no reason why they can't spend it exactly how they like.

OK, here's the biggie. Although I have seen it mentioned innumerable times I have no idea what DMX means. I can't even spell it. Can you, or anyone else with the time and patience, please explain the ins and outs of this? Preferably in words of one syllable or less for a dyed in the wool technophobe. Ta.

[quote name='JTUK' timestamp='1322395314' post='1450200'] Your money, your call. [/quote] That's about the end of the discussion so far as I can see. If someone has the money and wants to spend it, irrespective of their ability or what they are doing with it, that's a matter between them and their bank balance. Personally I would rather buy 10 basses for £200 each than one for £2000 but that is just my preference.

I bought some this week, as it happens. Taking on board that the KAM ones were better I bought a KAM set. But, typically, the wrong one. I got the KAM PartyBar. As opposed to the KAM ParBar. What's a 'TY' between friends? About £100 and a few lumens less, it seems ... anyway, they work. I'll need to wait until next gig (10th Dec) to see if they work well enough on their own. I suspect they will be good enough, though, for the pubs/small clubs I play in.

Stretch 'Why Did You Do it' comes into my head http://youtu.be/zY7f5nxuKts

I was thinking much the same - the inside of my ears is the same shape whoever takes the mould! Mine was the pharmacist/manager in Boots, BTW.

I would say a Westone Thunder 1A. Cheap but certainly not rubbish - you could probably pick up one in vgc for £125-150 and it would be piles better than pretty well anything you'd get for that money. Alternatively a roll of copper shielding tape to get rid of that hum

Like a swan, perhaps - all the action is below the water. I have a P-Retro fitted to a pimped Westone Thunder Jet that has Kent Armstrong pups and it changed a fairly ordinary plinky sounding bass into a tone monster. And where I think it scores heavily is the built in rechargable battery. Genius - no routing. I had this originally fitted by a luthier mate and he commented on what a quality piece of kit it was. He particularly liked the soldering, he said. I also have a custom J-retro that Nigel (silddx) had made for his Squire-a-like machine but then moved on. I fitted it into a Fender Precision Lyte and it is hard to describe what an improvement it has made - just totally expands and articulates the sounds available.

Yes. That is all.

[quote name='warwickhunt' timestamp='1322242893' post='1448601'] If you get the 22db and don't like them I have a brand new (in packet) set of 15s for sale (Etymotic Research ones)! [/quote] Have you got an ER15s cloning lab going or something? I bought a spare set from you last year!

I have the TC Classic 450 and find the tubetone brilliant. You can dial in as much as you want, from crystal clear to Lemmy.

I started off with 25db at first but found that they were too effective and I struggled to hear anything much. I now have 15db filters and they are just perfect - loud drummer in heavy rock covers band etc - I can still hear all the instruments. No more ringing in the ears after rehearsals, gigs or seeing other bands! But this is with the caveat that my hearing is pretty well shagged anyway - I wear hearing aids to hear normal level conversations!

Cheers guys. Is this a sad reflection? - my feedback has become marked a 'hot topic'!

[quote name='Low End Bee' timestamp='1322151308' post='1447289'] I have a theory that a lot of famous bands/artists have too many people around them telling them everything they do is great and they start believing it. A lack of criticism and self regulating crap filter ends up with poor output. [/quote] And that's the potted history of Fame. People begin to believe their PR.