Beedster

Love the note! I played in pop bands in the 80's when keyboards suddenly became capable of doing anything and everything, which is why a bassist back then needed to play either/both slap and fretless - two things that most keyboards couldn't do - and why these are such a big part of 80's pop. If I had KB problems I'd be fighting back with a bit of really annoying slap or some out of tune fretless and start negotiating from there

Agreed re legal but if they select the business in question as their UK repair specialist and that business fails to deliver (and potentially fails to even return the unit), PJB do have a moral obligation to either ensure it is sorted out quickly or to replace the amp. OK, these are difficult times in terms of component availability but that's no excuse for zero response, email still works

PJB are a great company, Phil himself resolved a serious problem I had with two consecutive Flightcase units 10 years back. But if they have appointed Selectron as the UK distributer/repair hub, and if Selectron accepted your unit for repair but failed to return it, then i can't help feeling PJB have the moral responsibility to replace the unit?

It's a good question, and one that's underpinned by the strong possibility that you'll spend £2k on a new DB and still prefer your old laminate. As you'll pick up from many threads in this sub-forum, the relationship between money spent on DB and DB gear and the quality of sound you get, especially if you're amplifying, is far from linear. And if you want acoustic volume, you might have to try a lot of basses, my 4/4 was a 10 year journey, but it's a shouter and a keeper on that basis

The band U2 could have been, BC always seemed a little more honest and authentic, despite the bagpipe guitars. And opening of Into The Valley is one of the great guitar moments. RIP Stuart 🙏

My top ten from 40 years of gigging Don't wander too close to the edge of the stage/never wear sunglasses on small stages with big drops If the crowd suddenly start pointing at you hair it doesn't mean it suddenly looks cool, it means the keyboard player flicked a cigarette across the stage that ignited the Elnett holding your 80's Alarm-style mohawk in place and your hair is on fire Don't let your keyboard player smoke on stage. In fact generally don't have a keyboard player in your band. Know how long your cables are. Try not to go farther away than that distance from your amp, especially if you have put the 90-degree jack in amp-end not bass-end Don't play DB at jazz clubs, every member of the audience knows more about DB than you do and most can play better than you can Careful what you say about the sound guy near a microphone Careful what you say about the audience near a microphone If you need to fart and it might waft into the audience, wander over to the guitarist, wander back and then 30 seconds later hit him with a really dirty look Never let the singer drink more than two pints before the gig, especially if it's his first gig with you, especially if he shotguns them Never agree to play a wedding gig because you're the only band the bride and groom could agree on

Ric suits you Clarky mate. Nice playing, nice sound 👍

Yes, buy it and buy it quickly

My sentiment exactly, this thread was a great read for that reason 👍

There's only one rule that can be applied to amplifying a specific double bass using a specific mic and amp. You simply won't know until you try. Do not spend any cash until you know that what you have doesn't work. And then be prepared to remortgage the house, sell some organs for medical research, and possibly become a cat burglar if the first two don't produce enough cash. I have a 4/4 that produces zero feedback using a mic that produces nothing but feedback for the guy I sold the mic to, but I have a Yamaha SLB-100 that I can get to produce monstrous feedback using a wing PUP. Explain that? All I can assume from my experience is that God long ago decided that double basses should not be amplified and that the lives of anyone who tries to do so should be made as close to hell as possible 🤔

https://www.talkbass.com/threads/lord-help-me-i-played-an-aer-basic-performer.1025473/ https://www.talkbass.com/threads/aer-basic-performer.408397/

Not really an acoustic guitar amp at all, just very good at that job alongside all the other things it does well, as is the case with most other AER units as well as, for example, PJB with whom I've found the same. IME the only brand on the list above I'd put in the 'higher end' category - certainly if you're talking tone and control over tone - is AER. Nothing wrong with the others, but I suspect that if you read some reviews of AER gear by people who have owned a lot of other brands it's easy to see why they have the reputation they do (loads of reviews on TalkBass).

Thanks for the link there mate