Leaderboard

Great mixers the MG Series and I find very easy to use, but I have one so am biased. Probably Aux bus weirdness as Cheddatom says. Pete's rough guide to MX series mixers:. This doesn't include the digital effects, if you have any. Start with: All channels switched off. All channel faders down. Group bus faders ( dark grey) down. Stereo (Master) fader (helpfully coloured Red) down. All EQ's to 12 O clock. Pan r/l to 12 O clock. Compression to zero. All 'pfl' buttons up. All 1-2 and 3-4' buttons up (if you have these). All 'ST' buttons up. All the aux channel sends to zero (the ones with blue tops). All Aux master volumes to zero. Connect everything up. Power on mixer, amps, powered monitors in that order. For each channel: Turn on the channel and press down the pfl button for that channel. Get someone to speak or play and adjust the 'gain' control until the output in the VU metres is occasionally reaching 0, in green. Put the pfl button back in the 'up' position and turn the channel off. Lather, rinse, repeat, for all the channels you're using. Set the monitor/phones switch to 'Stereo' (up) and turn on 'On' and 'ST' for the channels you're using. Bring up the faders on individual channels and get a rough balance on the headphones. When you're ready, bring up the Stereo fader gently until you get FOH. Optionally, increase compression but don't overdo it. If you want to adjust EQ, try and cut rather than boost. (ie cut mid and bass to boost treble) If you're using separate monitors, connect them to one of the 'Aux' inputs on the back of the desk (not the 'Monitor' sockets on the top of the desk next to the headphone jack). Usually you want Aux1. If there is a pre/post switch set it to pre. Turn up the Aux Send master for the Aux you're using to somewhere between 12.00 and 3.00 and then turn up the individual channels Aux Send to get a monitor mix. Hope this helps, good luck and have a great gig. If all else fails, read this! https://partydj.be/PDF-files/Handleidingen/Sound/Yamaha/yamaha-mg166cx-manual.pdf

finally arrived Wow its amazing very easy to dial in a range of sounds and sounds superb

or right trigger "this broom as 6 new handles and 8 new shafts"

In comparison to my US Fenders, my Mexican one is a good bass, but the tuners aren`t as good, there aren`t the graphite rods, the bridge isn`t as stable, and the pickups aren`t quite as full-sounding. So the US are better for those points, imo. Whether or not they`re nearly a grands worth of money better, well not sure.

I was mad into Talking Heads..... still am now......... the movie of Stop Making Sense was the first production which made me cry with joy. I didn't know what was going on........!! It still gets me on my feet now. I know it's not a seminal bass album but It changed my life. Corny but true.

Guitarists (or any other musician), no matter how talented, who can't see the value of volume control on stage are lacking the professionalism required for a serious working band. The band leader needs to do his / her job and deal with it. Sadly it's occasionally the band leader that's the main offender which makes it difficult to address. If i was in your situation I'd be thinking about how much better and more saleable the band would be if they could grow up and control their volume.

Just want to chip in hear to tell you about my acoustic bass, a custom Brook bass, handmade in Devon by three guys, using all traditional methods. It is called a Lowman. All Brook guitars are named after rivers, so I was delighted to discover there was a river Loman to name my custom bass after. It is based on the body shape and size of a Gibson J200. It has a Engelmann bear claw spruce top, bubinga back and sides, and walnut neck. This is what she sounds like, having just recorded this bass trio today. The tune is a Gordon Duncan bagpipe tune (I am who folk musician who also plays guitar and mandolin. I have arranged several celtic tunes for solo bass) Sorry, don’t know how to embed this in the post Acoustic basses are great fun, and my reasons for owning one are many. I like the way they look, especially with other acoustic instrument, they sound more ‘alive’ than electric basses, and their acoustic nature lets you ‘feel’ the music more, if you know what I mean. Robbie

Hi guys - thought i would share this recent photo of my rig - am using a Fender Bassman 800 and 8x10 cab! its very smooth and punchy! anyone else using these or had any experience with them?

Haha! Proper old school, well other than the techie platform. Quite curious about that for sure.

That’s a really logical, sensible, answer. However I’m secretly disappointed that it’s not just bass player excess!

This! Especially after starting work 6 months prior to it's release!

Darkglass VMT does a great Ampeg impression.

I'm using the new Caron K1 combo. Did think about selling it as I would prefer the same rig as separates (Ninja head and TRV123 cab), but damn it's just too good to let go!

Before.... After... .

I'm usually only gigging with my 1x15, on about 1/4! That always cuts through a treat - against our guitarist with a Les Paul through a Blackstar valve 2x12. We're a trio. As I mentioned above, speaking to Alex at Barefaced, he suggested that for my volume and needs, the One10 will replicate what I use now, in a much smaller package. He says that what my 1x15 does, the BF will do the same, maybe better. The PA thing was that if the trio band got, say, an outdoor gig without PA support, how feasible it would be to XLR out for just a little bit more cut. The other, 'new' band is cool, as the bigger gigs always have soundmen and large PA support, so the One10 would simply be used a monitor. No need for more there. If I had to stand on a stage with any more than 200w pumping right behind me, with no IEM or proper control....TBH, I wouldn't want to. I'd join a quieter band! So going ampless with the current PA clearly wouldn't work, but in an emergency situation, using it for little push wouldn't hurt, I guess. But I'm hopeful that wouldn't happen, as my 115 or 112 were always more than fine on their own.

I had a change of heart and thought I’d give it a go!?! It’s a bit different!?! Just got to get a new bone nut and drill out for the controls then string it up

These amps are ideally matched to woofers.

This - get ready, it is just the beginning...

I used to find it really intuitive for sequencing but that just goes to show really

Started shaping.

Good grief - my whole band usually has to set up in a smaller space than that, and we're a five piece! What's that between the stack and your pedal board - it's not a butt kicker type thing is it?!

Nothing wrong with the affectionately known BBOT - bent bit of tin - but the hi-mass one has indented grooves/runners for the saddle screws. I suppose hard-hitters, of which I include myself, probably find that these help the saddles from sliding side to side. In all honesty I`ve never noticed sideways slippage on my Mex Fenders over the years, but this feature to me is a good idea. Also the end of the strings fits snugly in the hi-mass bridge, so should avoid movement, not that I can see that happening but it`s a feature that would prevent it.

Thank The Lord!!!!!!!!!

I've had a dabble on the newer Affinity series, and they're not bad. In fact, they're a damn sight better quality than much of the cheaper end of the market when I started playing (anyone remember the Kay's catalogue brand? eugh!!!) The Affinity would be a good starting point, and they do a P/J which is quite commonplace, I believe. There is a VM series P/J - I know, cos I had one. That's less commonly available, but not "rare" exactly.... For me, better value for money would be the 2nd hand option. And the VM series are definitely a notch up from the affinity. But perhaps, if you saved just a tad more, you could go for a Classic Vibe series (or a Matt Freeman, which are made in the same factory) The CV series are another notch up again from the VM's - but they are starting to go for more money second-hand, as they are now (mostly) discontinued. That said, I've seen a few going for relatively low money on eBay - so keep your eyes open.... There is a CV 70's P bass in the marketplace on here, and I can't recall the asking price - but I think it's around or just over £300. I know, I know - you can go on wanting to add just a bit more money - but in a CV you get great quality. As others have said though, also look at some Ibanez basses. I've seen a Ibanez SDGR (Soundgear) SR500 go for not much over £200, and that's amazing value, given the high quality construction and the superb Bartolini pickups & active electrics it's fitted with. Most important of all though - try as many as you can, and go for the one that feels most comfortable to you.... Sometimes, you just feel a "bond" with an instrument - it may be several factors, it may be down to your hands feeling more comfortable on the neck, it may even be that you can't quite put your finger on exactly why you feel more comfortable with that model.... but I think it's essential to try as many as you can.... Pop into your local shop (s) are there any BC members who live near you, who don't mind you having a try of their bass? (most BC'ers are very friendly and open to this). Is there a tutor near you? Tutors often know a pupil who is looking to upgrade... Best of luck in your search EDIT: If you try a Squier Affinity and like it - remember, it's a good entry level instrument anyway, and if it's the most comfortable you feel playing, then get that one

I thought we weren't allowed to mention it?

Funkfingers is right here. Apart from the quality of pickups and electrics, bridge and nut - the woods used by the manufacturer of the "higher end" bass should be of higher quality, be subject to a high degree of selection / quality control, and better seasoned. Add to that, the finish in the higher end instrument will / should be of a higher standard. An example from my own personal experiences here, is the quality & finish of the Mexican built Roadworn series (Yes, I know I bang on about them! lol) - leaving the relicing / roadworn finish aside, I've owned 2 Roadworns (a J and a P) and played several models of their more standard MIM counterparts. Apart from being lighter in weight, the quality of the woods used just seemed / felt another level higher again, plus, the finish on aspects like the rolled edges on the necks, and the edges / smoothness on the frets was what set them apart, along with the quality of the (aged) varnish on the neck.... You could take a Harley Benton, and put top end components in it - it may sound much better, but I suspect the finish and comfort of aspects like fretboard and fret edges would also need attention. Then of course, would you need to re-sand the neck and re-apply a higher quality of varnish / finish? By the time you have done all this and costed your time (even at sub minimum wage) you'll have spent more on the cheaper bass. Of course, I think everyone should try some upgrades and / or repairs to an old bass anyway... it's a valuable experience and can teach you a lot about how instruments are put together. Aside from all this, there's then the question of resaleability (is there such a word?) You can spend lots of money on a cheaper brand bass, buying pickups, electrics, bridge, brass nut etc etc - but when it comes to a resale, you rarely get that money back... that is, unless you part the bass out and flog all the components separately. Having said all this, I'm really tempted to one day have a go at doing an early Fender P bass, using the HB 50's P clone - like Discreet and several others have done such a smashing job of... Of course, if you're doing it to teach yourself some useful skills, or you just want a model of bass you can't afford the genuine version of, and you are willing to write the costs of the components off (or simply, you aint ever going to sell it) - then to my way of thinking, these are the best reasons for upgrading an inexpensive bass

I've tweaked our security sensitivity, if it seems to be taking the fosters can someone give me a shout please (again having a screenshot is a HUGE help)

Donny Hathaway live with Willie weeks on bass. Great tunes, groves and tone...whole band are great.

siouxsie and the banshees. I'm currently devouring the back catalogue.

Hey @Bill I had a quick look at few of your videos. Great playing and fantastic phrasing. I noticed you were playing a Streamer Stage 1. In some of them. What year was it made and what pickups does it have? How did it compare to the custom you are selling? Cheers

I wish I had a limber body

My symptoms are numbness of the thumb, index and middle fingers as well as pins and needles. Mines triggered by bending my hand back the way, which can be an issue on my bike depending on how I position my hands and the angle of my wrist. It can be triggered by closing the hand down on the wrist in other people, it varies from person to person. My right hand I worse then my left. I'd imagine if it's triggered by closing the wrist it will have a bigger impact when playing bass, more so on the fretting hand. I keep my plucking wrist pretty straight so I don't tend to get bothered by it. The worst bit about it for me is the pins and needles can wake me during the night. I have a wrist strap but don't often remember to put it on a bed time. My own fault.

Living Colour - Time’s Up

For me geezer on the first black sabbath album. and mani on the first stone roses album.

" Is there something I've missed? " What you need my friend.... is a Mk1 4-string wal custom fretless :¬)

Another shot :-)

I'm sure I remember Doug confirming this exact thinking in his podcast interview with SBL. This topic (the original post mainly) basically highlights some peoples lack of understanding of what is sometimes necessary for full-time musicians to undertake, basically to monetise whatever you possibly can. Clearly there is a 'market' for his more esoteric solo performing, at trade shows, clinics etc etc, but as has been mentioned above, it probably represents a tiny percentage of the bass playing he undertakes daily. He's good at it, people will clearly pay him to do it, why wouldn't he play like that. In any case, the whole 'bass should stay in the low end' is the most boring, yet constantly visited, rhetoric going. These people are musicians, that they choose the bass guitar to represent their voice is a moot point. Those players will likely stick to a 'role' for a lot of their musical life, but who cares if they diverge if it's an enjoyable experience for them or someone else?! Si

Nice Bill. Sounds great

I think Janek Gwizdala summed it up nicely when he pointed out that what he's 'famous' for is what he spends about 5% of the set doing. Nobody makes a video of you paying straight eights. This is true for pretty much every great player.

That's the problem with these things. Personally I think Flea and the Chilli Peppers peaked with 'Mother's Milk' After that they became a lot 'safer' and less unique.

"Best Album" ain't necessarily the way to go. Get a decent Motown compilation and - ideally - a copy of the original CD for Standing In The Shadows Of Motown. Get a good Stax compilation. Seek out individual tracks you can download if you don't want the whole album. A good example is Burlesque by Family; not my favourite album by the band but the title track is an absolute must-have, John Wetton in his pomp. Don't forget the obvious. All Right Now has been done to death, but the original remains a classic and very influential bass line.

Red Hot Chili Peppers - Blood Sugar Sex Magic. For me that's Flea (and the band) at their peak.

I'm talking to ikay at the moment about potentially hosting these as a page on BC, indexed and with a 'requests' area. Should be useful!!

I've also always liked this opening to 'Teardrop' by Massive Attack; a clever little couple of lines: "Love, love is a verb Love is a doing word"

Keep you doped with religion and sex and TVAnd you think you're so clever and classless and freeBut you're still f*****g peasants as far as I can seeA working class hero is something to beA working class hero is something to be