EBS_freak

True - but that's the physical interaction with the instrument. Anything after that is just taste - and that's subjective.

Give somebody like House of Tone a call... they may be willing to take the broken pickup and repair/rewind it for you. Certainly should be a lot cheaper than replacing it... and if it is rewound, it will likely sound better than most of the off the shelf stuff anyway. http://www.houseoftonepickups.com/

A wheelie suitcase - mostly because it's strong enough, light, got a pull out handle and on wheels. Carries all the XLRs, powercons, looms, straps etc. You can load it to capacity and the contents can weight a tonne without the bag destroying itself. For example, in contrast, how many of you have a drummer with a canvas rolling bag for their hardware? And how many of those drum bags are not falling apart? Guess the size of your bag depends on how much gear you take to gigs.

And in a studio environment, you'll have so much tweaking available to you, your favourite bass may end up sounding nothing like the sound of your favourite bass! Similarly, if you are going through a PA live, what you do behind the desk has a bigger influence on your sound than the amp and cab... (unless you are running your backline far too loud that the volume overpowers your PA)

Where's the elf in the port photo?!

Here's a suitable analogy... A £50 heap of junk car will transfer your donkey from A to B as will a brand new 30k one. The point is, the value of the car doesn't stop you getting from A to B. Why should a bass rig stop you doing A to B in your performance. The gear may not perform to how you wish it would - but it certainly shouldn't be the main steer for getting you there. Can you imagine any bass great turning down a gig because they aren't plugging into their favourite backline?

I guess it all depends upon the gig - but relying upon gear to play bass is going to hold you back more as a bass player than anything else. If you are the bass player that insists on all sorts of gear and as a consequence is a nightmare to work with... isn't worth the hassle. Maybe the increased use of modellers is people's ways of dealing with the perceived problem?

Can't see this advertised anywhere, so I've posted it up. Not strictly just guitars - there are a handful of some basses there... but may be of interest to some. The Guitar Show - New Bingley Hall, Birmingham. 24-25 February 2018. http://www.theguitarshow.co.uk/

A friend of mine, a great player in fact, has a tatty, yet functional 410 SWR Goliath cab that he wants to see land in the hands of somebody or maybe an organisation for struggling players that would otherwise have not got access to gear... Please don't see this as an opportunity to bag some free gear to flip for a profit... or a way of getting gear that won't actually make any significant difference to your life. Lets do the right thing and find it a home where it can get used and help put a smile on people's faces. He's Birmingham based and willing to drop it off if local. Any ideas?

Just a shout out, for those that are still not sure about IEM monitors, I'm going to be at a couple of guitar/bass shows with Paul from Custom In Ear Monitors - DISCLAIMER, I don't work for Custom In Ear Monitors, he's just asked me along for some help as things can get busy at the show and also because I have accumulated a fair bit of experience from CIEMs and making them work from pub situations through to big stages. Feel free to come and ask some questions and check out IEMs. On the stand there should be a selection of monitors from JH Audio, 64 and Ultimate Ears in universal form so you can get an idea of what they are about and what they sound like. It's a good opportunity to have a look at what's on offer from all those manufacturers in just one place... and then there's all the other guitar/bass stuff to distract you. So maybe worth a trip if you have an interest in IEM. The Guitar Show - New Bingley Hall, Birmingham. 24-25 February 2018. http://www.theguitarshow.co.uk/ The week after, I shall be at the big one in the bass calendar... The London Bass Guitar Show - Olympia, London. 3-4 March 2018. http://www.londonbassguitarshow.com/ Of course, I can't really divulge anything because I simply don't know at this stage (I'll find out on the day like everybody else)... but the 3 manufacturers tend to do show deals when the CIEM company are exhibiting... so if you are tempted to pull the trigger, it could be worthwhile, especially on the higher models where savings were in three figures at the drum show.

What guitar amp is he using? If you haven't got the stage size and venue size, I'm pretty sure he's got the wrong gear for the gig... or at least being a knob with the volume control.

Whilst looking into the above system, I stumbled across http://myxyr.com/ It seems to take a very similar approach... but I found this page a little disturbing https://myxyr.com/en/index.php/how/live-audio-timing.html For Live audio, it is important to have no latency. This means, Myxyr does not do any buffering, any millisecond of audio is passed as quick as possible to your ears. To accomplish this, Myxyr uses a dedicated WLAN connection and transmits the audio signal over UDP. TCP is only used in the data connection for controlling your mix. A view on average latency timings: Analogue Audio comes in over a cable. this is electrical signal with practically no latency even with long cables. However some guitar effects deliver audio with a bit of latency. The AD conversion in most professional PA mixers produces less than 10ms latency. Fortunately most of the less professional equipment also stays far below 20ms. E.g. a popular device like the Alesis Multimix 8 USB 2.0 manages to stay below 12ms. The USB transmission from mixer to PC takes a few ms, the Windows ASIO driver may add some 2-3 ms more. The DAW program will buffer the digital audio input again, may pass it through some compression filtering again, may need to convert the signal rate. Depending on the number of channels, timers and message loops introduce some more, so until Myxyr 'finally' receives its input signal, some 5ms have passed. So in total, Myxyr has to live with an input delay of approximately 20ms. Myxyr Cast processes the incoming audio in real-time and moves it into Wi-Fi buffers with 3ms of audio. Wi-Fi transmission takes practically no time, merely 1-2 ms, before Myxyr Ear gets the data Myxyr Live Ear converts the WLAN buffers to 6ms buffers and passes the audio to the audio driver. The device audio driver plays this audio as sound. It makes for the total Myxyr processing a sound latency of approximately 10-12ms. Significant timing setting Set your ASIO frame rate lower than the default 512, e.g. 128 samples. That is 3ms of audio A total latency of 30ms is comparable to a speaker distance of 10m. ....Hmm. Given that IEM delay should ideally exist somewhere between 0-5ms with 10ms being at the very top end of acceptable (although some people will find 10ms already far too high), I think the figures are somewhat disappointing. Yes, saying 30ms is the same as standing 10m from a speaker is one thing... but having a delay of 30ms from your singing voice and the monitor feed being plugged directly into your ears is unacceptable. I'm not entirely sold on the statement around the latency figures on most professional PA mixers produces less than 10ms latency. This figure is more realistically <3ms for even non professional mixers. If Audio Fusion have nailed the low latency performance of audio transmission (I can see them running some highly optimised code) I would be very interested in how they got around the native wifi latency...

They are 1x12.

You can't get your sound - or you can't get your volume? It reads like you like to get blasted on stage.

You b*tard!

Well I'm watching this one with interest - They are at NAMM... I'm not sure how they have (if the have) got around any latency issues... but it's certainly an interesting prospect!

Two 8 ohm cabs in parallel presents a 4 Ohm load to the amp. Ohms aren't pushed anywhere, Watts are (if you want to use that "push" terminology). If you want to maximise the amount of Watts that you safely put out of the amp, then you present the load that the amp is designed to work with, in this case 4 Ohms.

Bloody expensive way of putting two cabs in parallel. Oh - I see. If you already have a BF and it has two speaker sockets in parallel, just plug the next can into that to get your 4 Ohms.

I'm sure @obbm could make you a parallel box in a similar manner to how he makes his series boxes...?

Impedance goddamit!

Check out the search function. Plenty of love for these devices - however theres a lot of hate for the battery door... which is pants.

F**k Rock, F**k Roll

The tickled trout will never be the same. Although a good set of d&b monitors would probably be quite the thing for FRFR.

Yup Read back from Nov 30th.