Mog

300 notes should get you a used Hartke LH500 and an average 1x15 cab. That would do you for a lot of venues. In time you can add extra cabs and/or upgrade the cabs. Of all the 'budget' gear the LH500 stands out by a mile IMO. Great sound and reliability.

If its only for mucking about then pick up something like a Harley Benton. [url="http://www.thomann.de/gb/harley_benton_hbb35nt_5string_akustikbass.htm"]http://www.thomann.de/gb/harley_benton_hbb35nt_5string_akustikbass.htm[/url] They're not the greatest bass in the world but they'll do for a noodle. I never got on with Aria acoustic basses but the Ibby's are nice.

As Pete said the Dunlop Brick has 3 18v outputs. Its a great piece of kit. The adaptor is rated at 18v @ 1000mA so theres plenty of juice on tap.The problem with many adaptors is they cannot handle the draw from multiple units and the sound suffers. If you need to power a few pedals then I recommend getting a proper unit to power each individually rather than using a cheaper daisy chain.

Depends on the units. I use an M80 for my grind tone so the distortion is always ticking over. I've an M181 Blowtorch before it and another after it in the chain and both sound better IMO with the M80 on. However I've also got a Wooly Mammoth after the M80 and it sounds muck at all setting when the distortion is on.

[quote name='BigRedX' timestamp='1346668471' post='1791620'] Completely depends on what sort of music you are playing and what the other instrumentation is. [/quote] ^This. For my main originals band I have a stock grind tone that changes slightly as needed. Nothing fancy, just a different hand position or with a pick. For the covers band I normally go with a slightly scooped tone that fits most of the songs, the alterations usually come from fx units. Finally with the acoustic group I use a tone with the low mids boosted slightly and the treble cut slightly. This one doesnt change because it fits well with just about every guitarist/group I've played with/in. IMO a good tone is something that doesnt have to be altered or changed too often because it is useable in various situations.

IMO, if you want a more versatile bass tone stick with the Barts. A lot of people find that the DiMarzios have too much edge and an pronounced scoop. Personally thats what I love about them but as I said they're not for everyone.

The only one I've seen cut in a live situation was a Fender Rumble. I dont know if they are still made in 100 watt models though. A 150 watt Trace Elliot Combo will probably do for most small venues.

[quote name='thisnameistaken' timestamp='1346166944' post='1785994'] I don't know why people gripe about MEC electronics, I've always thought they suited the basses very well. I guess because they aren't as high profile as some brand names people think they should replace them with something more famous. Humans. Honestly... [/quote] ^ This. Warwicks with MEC pups have what I would call the classic 'Warwick Sound'. A bit of growl but still quite round. If you associate colour with sound as I do then Warwicks sound blue..............

I've been using an Ashdown bass chorus plus for the last few weeks and Im really impressed with it. Before that a Digitech Multivoice was my weapon of choice.

Dean Markley Blue Steels. A fresh set every second gig. I'll use D'addario EXL when I can't get Markleys.

Most of the Doom bands I know prefer uncomplicated basslines.I wouldnt worry about it. If it sounds good to you then its probably good enough.

[quote name='charic' timestamp='1344324926' post='1762671'] We've moved from body woods to pick material? [/quote] Your point? If you haven't already, try it the next time you're using a gritty tone. Delrin gives more attack than Acetal or Celluloid. Nylon gives an almost fingerstyle like tone if the correct thickness is matched to picking intensity. Why bother spend ££'s on strings/fx/amps etc to fine tune a tone when one of the most important factors is the cheapest.

[quote name='JakeBrownBass' timestamp='1344285164' post='1762337'] Not sure mate, I went to uni with him so I'll give him a message and try and find out for you. [/quote] Sound lad.

I love it. All I'd change would be the pick. Sounds like Delrin. I'd go with a nylon 1mm to take the harshness out of the highs.

Three words: Bass Pod Live. You'll pick up a secondhand model for about £150ish.

[quote name='Cosmo Valdemar' timestamp='1343998527' post='1758438'] Great player, a once great band, but does he really deserve his own sig? [/quote] Fender are just getting in there before anyone else. Foo's are easy to market, just look at the continued MTV association. I'm sure Warwick or some similar brand would have snapped him up eventually. He's a fantastic bassist IMO but I preferred his tone when he used the Laklands. Of course he'll be using both at gigs as he presently does.

I really liked parts of it, well most of it TBH. At the end of the day its subjective innit, saying why you enjoy it or not would not change the opinions of someone with an opposing view. @ Jake: That drummer had a great bassdrum tone. Any idea what the shell is? Looks like a Yamaha Studio.

He used to use one (or something similar) during "bass solos" at live shows. Cant remember any on recordings.

The also buy in bulk from the producer, which costs less. I doubt they are selling them cheaper than they are buying them.

I've played the 3 and 4 pro and IME the 4pro is a more versatile amp. I wouldn't worry about country of origin, most people dont have a clue where their amps or guitars come from in general and just jump on the slating bandwagon. Korea has been producing fine equipment for years. Have you looked at any SWR heads? They're a great option if you're planning on spending that ammount of cash.

[quote name='xgsjx' timestamp='1343907340' post='1757098'] It's all to do with the soundwaves of each driver pushing against one another. You'd have the same result if you stacked 4 2x10s in the same config as an 8x10. Here's something from an AV site that explains a bit about surround sound systems. Same logic applies. Here's the site... [url="http://info.atlantictechnology.com/bid/127601/Vertical-Center-Channel-Speaker-Placement"]http://info.atlantic...eaker-Placement[/url] [/quote] Cheers lad. That actually displays exactly what I have a problem understanding. The thing is, sound is emitted from a source on more than one axis, ie.the vertical as well as the horizontal. [quote name='Bill Fitzmaurice' timestamp='1343911731' post='1757197'] The physics of dispersion by a sound source were quantified in the 1930s.[/quote]

If we're the only band I'll sound check and pack away the bass until its time to play. If there's a couple of bands I'll do the same. All it takes is one drunk muppet to grab it/knock it while you're taking a leak or ordering a pint. (And I really hate musicians who leave their instruments/fx on stage even though another band is on before them. I'm standing on your multi fx? really? how the f*** did that get there? )

[quote name='Bill Fitzmaurice' timestamp='1343775095' post='1755218'] But most of us don't. [b]By placing two tens side by side the midrange dispersion is less than that of a 1x15, or vertically aligned 2x15s. Tens naturally have the widest dispersion of the usual driver sizes, but only if kept in a vertical line. [/b]Want the tone and output of a 4x10 with wide dispersion so that the audience can hear them, and with the drivers high enough so that you can hear them? Stack two 2x10s vertically. [/quote] This confuses me. Is the only thing that can cause this proximity to the stage floor or is it some new fangled physics I haven't heard about. And isn't an 8x10 just a two pairs of vertically stacked 2x10's?

I'm a bass wah + fuzz fanatic and keep coming back to the Crybaby Bass Wah. Its the best built and best sounding IMO. My signal chain goes like this: Tuner > Comp > MXR Blowtorch > Wah > MXR M-80 > MXR Blowtorch > Wooly Mammoth clone >>modulation fx. Wah and extreme bass fuzz dont go well together IME so I have the first Blowtorch in the chain set to a vintage type fuzz and that shapes the wah tone nicely. The Blowtorch after the wah is set fairly hot and because of the settings there is little effect from the wah. The Mammoth clone sounds crap with the wah TBH and I dont bother with combining them. The M-80 is really nice after the wah pedal although I dont have a lot of dirt dialled in on it. Long story short is I prefer smoother fuzz/distortion before the wah and heavier/more high gain fuzz/distortion after it.

Just had a gander at the Planetwaves website. The compression springs they now use are totally different than the ones on my lead. (see pics) [attachment=114592:STA71181.JPG] [attachment=114593:STA71182.JPG]