BassYerbouti

Played through a Little Mark amp last night at a new rehearsal studio for us. Holy cow! that has got some punch to it. Nice tones, solid build, easy controls, fits in yer pocket. What's not to like?

Hired the 100 Club in London, had 200 friends along and charged them a fiver. Gave £500 to a music charity and stumped up the rest. Scribbled our name on the wall and felt like a million dollars. Been smiling all day.

Thanks All, I have learnt a lot from you. Now if only I had my rig and guitar with me in the office (where I am supposed to be working) I could try it all out now. regards, BYB

I think I might be the only one on here who doesn't know what scooped means, it seems to get a mention on many of the posts I read discussing tone. Is it desirable or to be avoided, how do I know when I have it? I have an OTB rig and a play mostly a Precision and sometimes a Stingray. There is so much opportunity for changing the tone with the EQ on the Stingray and the EQ on the OTB I haven't really hit on 'my' sound yet, what sounds nice at home doesnt cut through when playing with the band so I end up leaving everything set to the middle on all the knobs and just crank up the amp until I can hear it. All advice on EQ settings and what scooped means much appreciated. regards, BYB

Gave it a test at home and all is well, I must have got confused at the rehearsal with the sound from the PA overpowering the speaker output - all a question of balance I guess.

thanks for the advice. It was all a rush in the first 5 mins so I didn't have a chance to methodically check everything. just caught me by surprise so I pulled everything out and reverted to plan A. I will try at home and put the xlr into our presonus soundcard to see if I can reproduce.

thanks for taking an interest. I used an XLR cable into the balanced output socket on the side and had nothing plugged into the send/return jacks. Does yours give output to the cab at the same time? regards, Chris

Hi guys, I have a gig coming up in a larger venue than normal and was thinking of using the balanced output connector from my Orange Terror 500 into the PA. I tried it at our rehearsal studio last night and got a good sound from the PA but didn't get any sound out of the SP212 cab I had connected to the amp at the same time. I was hoping I could use both so that I can hear myself better on stage but didn't realise that connecting the amp to the desk would cut the sound to the speaker. did I do something wrong or is that the way it's meant to work? regards, Chris

[i]Everything at 12.00 for me with gain at 9.00 for my precision[/i]

Hi guys, I am new to all this stuff so will ask a dumb question probably. I have an Terror Bass 500 and have filed away this useful page for when the time comes to replace the valves. Question: does the amp need to re-biased following replacement?

Oh bugger, I'm all over the place now

Thanks for that advice. I haven't tried a 2EQ so I guess I need to hear them side by side. One of the reasons I am wanting one is that I am having no joy playing slap bass with my Fender precision and have formed the impression from research and experience with my old Yamaha RBX that it will be easier with an active bass. In terms of the 2EQ vs 3EQ debate, does either make playing slap easier?

Hi guys, I have fancied a Stingray for some time and now might be in position to buy. I am not an afficianado, just love the tone and neck on a couple of 3EQ's I played a while back. So a quick trawl on the usual suspect web sites, reveals a £400 difference between the 2EQ and 3EQ at the moment. Can someone tell me if they are exactly the same guitar (materials, build quality, same factory etc.) apart from the electronics or are there other differences that make one much cheaper/considerations when choosing? regards, Bassyerbouti

Played a set at The Alley Cat club in Denmark St last night. Hot and sweaty with a tiny stage. Audience were nicely warmed up by a free bar and we went down a storm even though we fluffed the start of White Wedding thanks to over-enthusastic drummer.

Some great advice here chaps - thanks! we'll be rehearsing for 2+ hours tonight and I think I'll try it sitting down for once.

As a bass player of mature years who is starting to suffer for his art, I wondered if any of you had any tips for dealing with aching fingers and shoulders. Our band only gigs three times a year but boy do we like to practice. I've had an aching right shoulder for best part of this year which I am fairly sure is down to the hefty precision I am wielding. Now my fingers are starting to ache too and it's starting to reduce my fluidity and making me play safe instead of trying to introduce some flair into my playing. This is starting to read like an agony aunt letter now but to cap it all recently my guitarist has put in a couple of songs that he would like me to slap and pop to. At 53 I suspect this isn’t going to make things better. So if you have any ideas to reduce the strain on this old boy (other than ‘give it up grandpa - it's over’), I'd like to hear them! Bassyerbouti

Can anyone tell me what that twin neck thing with the 'touchpad' that Chris Wolstenholme from Muse was playing on Later with Jools Holland last night please? This old rocker had never seen anything like it.

Thanks chaps, we are having rehersal tonight so will see if we can get it set up.

Our guitarist has a Roland Cube with some cool effects and is fine when we are rehearsing in a small room but when we get to a rehearsal studio and the rest of us want to crank it up, he just doesn’t have the power. Does anyone know a way of taking the signal out of the Cube and putting it into a larger amp that retains all the flanger/compression toys and that doesn’t blow anything up? Thanks for all your advice.