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In the rear control caverty of my bass.

The non-Fender is probably quite a playable bass....

They'd only allow you to join if you could type with both hands at once.

I liked the tone of my One10's but I had concerns over the fact that they couldn't keep up with my band's moderate volume in certain pubs (acoustically damped by carpets and furnishings). Despite everything they are very small cabinets and do not defy the the laws of physics. I confess that I succumbed to the hype and believed they might be as loud as, say, a Markbass NY121. Unfortunately they're not. I actually replaced the 2 One10's with one Markbass Std121HR and have done a number of gigs with that, with no issues and plenty of spare volume available. I also think there is a valid criticism of using non-standard optimistic specs on the website ("usable frequency range" etc among others) and the general tone of the site inferring that other manufacturers are "behind the game" in design terms. Don't get me wrong, Barefaced cabs are a good option among many good options but there are other cabs out there are on a par or maybe even better.

Early on I recall being obsessed with Steve Priest, then Geddy Lee, then dUg, so it really came down to dirty clank. All hail Tech 21 NYC. It doesn't matter whether I'm playing a Squier Badtz-Maru or one of my Lulls; that's the tone I'll dial up.

I'd find that a prohibitively slow method of moving my gear around.

Some awesome entries this month & very hard to choose 3! Initially I was a little disappointed at seeing just 2 votes for mine, as I thought it was rather good, but after listeneing to the entries the 3 that I picked I think are better than my entry, as are others. So now I'm not disappointed at getting 2 votes. I think it's an acievement for me to get 2 votes against some awesome tracks! Great work guys!

I love this version, these ladies' harmonies are amazing

I read the topic title as "Deplorable String Mute". Thought it was another Rickenbacker thread.

Bass on an FS1E to practice in 1977

From what I've heard on other YouTube clips, the technical problems seem to follow him around...

Bit of a weird one... It was the gig with almost no promotion, where our band name was billed wrongly, where we foolishly accepted the fact we weren't getting paid due to the possibility of "good future gigs" (I know, I know!). Anyway, 'twas in a small Shropshire village, even smaller pub frequented by an odd mix of walkers, tourists and local heavy drinkers. PA was set up by the band who were actually getting paid - we had a 1 minute sound check which was pretty good when the landlord's wife came out of the kitchen next door saying could we turn down as they couldn't hear orders in there... So we turned down a touch, closed the connecting door which made it extraordinarily hot, and started playing; of course I'd turned down much more than the guitarist so had to keep fiddling. But we played well; at one point about 30 women, all dressed to the nines, came past the stage into the 3 cubicle Ladies toilet by the stage - it was like the initial walk-on in TV's "Take Me Out"; we were playing our one and only blues-ish song, which has a verse inspired by Killing Joke's "Change" and a funky slap chorus if you can imagine that. It also has some quite long pauses where the singer sings his line, then we come back in. One of the women came up to guitar/singer and asked if we did "Summer of 69" (we don't do any covers!), so rather than going back into the song, our Tim quickly sang the 1st verse of the Bryan Adams classic (!), stopped, and we all somehow continued the interrupted song - which showed we could busk it a bit! Of course, the young women -who turned out to be young farmers along with a similar amount of young men- weren't interested in us (if we'd been the Wurzels it would have been different!), but there were quite a few rockin' locals who enjoyed us - and at least 1 older hikey type who'll no doubt leave an appalling TripAdvisor review for the pub. She ran into the Ladies toilet clutching her head as if the demons of Hades were clawing at it - which in a way we were! Still, last unpaid gig. Not sure if the pub will ask us back anyway as we were a touch too "rock" as opposed to "pub rock" for them!

Band members playing along to the music coming from the juke box while others are setting up.

I feel for the OP's mate. Couple of things... * If it's choking out on bends it's just as likely to be the neck relief as the action - best he check this before he gives up. And if it isn't the relief it could just be a high fret. Also, if it's a vintage spec neck the 7.5" board radius will always choke out with big bends up at the dusty end unless the action's jacked well high. * Alder / agathis / basswood? TBPH, it's not going to make a huge amount of difference anyway if it's a multi-piece Squier body. Whther it was ash, alder or agathis most people would have to be have to be a total cork-sniffing tone hound to tell the difference blindfold . People go on about alder and ash but afaich there's not much difference, unless it's a shoot-out between some really light, resonant old swamp ash and some boat-anchor alder. Even then the amp and the speaker make more difference than wood types (as the OP's mate has discovered). * I've done the steel trem block thing on a proper Strat and it made a microscopic difference to the sound - nowhere near as much as the difference between setting the bridge to float and setting it flush to the body. * Final thing: He's gone round, played it and walked out the door with it 'as seen'. Very difficult to turn that one around. The other guy claimed it was an alder body; maybe he genuinely thought it was; maybe he's a fibber; hard to prove either way without suggesting the guy's a liar which isn't going to get the Chapman back. Really, I think he's just going to have to suck it up and put some work into the guitar. Caveat emptor.

With the risk of sounding like like a broken record, the BB2 i had was left way behind when i used a cheap Peavy 4x10 at my rehearsal studio. The BB2 is a great cab, but no way can it put out the same kick and punch as every 410 out there, and in my experience not even a cheap one. Just to be clear, ‘keep up with a 410’? What brands are we talking about there? Exactly what 410’s have been tested next to a BB2? Obviously not the Peavy as ive had first hand experience with that and the BB2 was sorely lacking. Does it keep up with the BF 4x10?

Thought I'd share this experience in case someone else has the same problem - it might save you some hassle/cash. A while back my MXR M87 died. The level meter was still functioning but there was absolutely no sound coming from the pedal output. I did all the usual quick fixes (contact cleaner on jacks, replaced footswitch etc) but to no avail. After a bit of digging I discovered that the output op-amp in this pedal (TLC2262 in case you were wondering) has a maximum voltage of 16V. Obviously this would normally be OK in a pedal that runs at 9V, except that MXRs "Constant Headroom Technology" feature is essentially a charge pump circuit that doubles the pedal's internal voltage to 18V. It shouldn't take a genius to work out what therefore ensues if, like me, you're unlucky. I replaced the TLC2262 with an AD822 (which has a supply voltage of 18V) and my pedal now lives and breathes again. I believe MXR will fix pedals under warranty for a flat fee of £75, whereas replacing the blown chip cost me less than a tenner and a few minutes fiddling with a soldering iron (the TLC2262 and AD822 chips are both surface mount - soldering these can be tricky unless you're experienced in doing so). It appears that mine is not an isolated issue as a quick Google uncovers many such failures, so I figured I'd pass this info on in case any other BC members' M87s suffer the same fate. Please use or disregard this information as you see fit!

I have a BF Super Compact, two DIY BassChat Mk1( one with a slot port & one with 4 x tube ports) & a Fender Rumble112 v2. I use these in differing combinations with Mesa D800 & Fender Rumble 500 head for the various venues I play. Recently one of my bands had secured a number of ongoing gigs in a small venue and I wanted something really small because of the tighter space and small room size. I considered a Fender Rumble 500 combo but concluded a BF One10 would be just the job as I already had the Fender head. So I rang BF to check delivery lead time and Harry informed me that it was 3 to 4 weeks so I duly paid my deposit on 24th April. Having emailed weekly to check progress I was told on 21st May that the cab was in Test and would be shipped that week. As I needed the cab for Saturday 26th May I phoned Thursday morning to make sure I got the cab on Friday before the gig. I got no reply having phoned dozens of times throughout the day. I finally got an answer from Tom at 3pm to say that it would ship on Thursday . Great ! time to play it in a bit and get the right EQ settings. Sadly I had a further call to say that the FedEx pickup time had been missed but BF would cover the extra shipping cost for a Saturday delivery. Having expressed my disappointment with the poor communications I received an email from the Man himself Mr Alex Claber explaining that the factory had been shut for most of the day because the team were on LEAN & 5S training . So my order wasn't so Just-In-Time more Just-Abit-Late 😂 Now I have tried the new Tech 21 VT 200 combo & the Fender Rumble 500 combo and the Fender definitely suited my needs best. I was disappointed with the VT 200 combo as the speaker lacked depth & the headphone socket was really noisey. The preamp was great with all the familiar VT Bass sounds on hand but the missing blend control was a disappointment. Setup the One10 for the gig on an angled stand with the Fender head on top secured to the cab handle by a nifty DIY bracket that I'll share on another thread. Fired up and what a sound!😎 The One10 was absolutely amazing for it's size with a huge amount of depth and clarity. Considering I was using the same head as in the Rumble 500 combo the One10 was much louder and fuller than the Fender combo with a much smaller footprint. From the various comments on forums I was expecting the One10 to be far more 'coloured' than the Super Compact but to my ears it was only a little warmer and to achieve my particular sound I did have to back off the upper Mids but not as much as when using the Super Compact. All in all the One10 has been a great purchase that provides me with every foreseeable combination I need for the venues I play. A One10 on an angled stand provides a small compact solution that delivers a really loud, full, articulate sound that suits me perfectly. Thanks Harry & Tom

Drumchat, eh..? What a grand idea.

Surely you mean tw@ ch@

French Horn chat I've got the French horn

No harm in asking IMO. We have something in the pipeline, just got to wait for rick to tie the ends together. Hopefully more progress soon.

Another dep with a band wot I've been depping with. Nice lads, and they play all the songs I grew up listening to, so it's nice to finally play them. I've done four or five with them now, so I'm getting confident enough to chip in with BVs now, too. Here's a clip of Cinnamon Girl:

Thanks for all the replies on the thread! I decided to go for Bagsie Blue's Gallien Krueger MB800 that was up for sale in the for sale section, seemed a good price and worth a try! Well!! You guys were not wrong about GK heads! The presence and authority in the tone is a definite step up. Not an amp for the shy retiring type! Had to dial the treble back SO much at a gig on Friday in Oxford. I had the horn's on my 2x Vanderkley MNT210's dialled back to almost off and the treble cut slightly on my Modulus Flea and it was still a very bright sound. However, that massive grunty bottom end and sheer 'quickness' of the notes was extremely pleasing to the ear. I was also getting a 'slight' bit of overdrive at fairly low gain settings, which confused me a bit, it could just be the Bartolini preamp / Lane Poor combo driving the input stage too hard. (I haven't tried the -10db cut switch but i'd imagine it would clean it up) However, I'd imagine this in conjunction with a quality compressor would get me where I want to be.

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That's my Gibson Custom Shop ES- 335 in Vintage Faded Cherry with Vanilla Binding. Blue

If you want to throw another maker into the mix, Rotosound Piano String Design http://www.rotosound.com/psd-bass-99/ These used to be called Superwound, I had some of these on my Yamaha BB in 1980! Good choice for an Ovation Magnum.

On Saturday we played at the Maidens Head in Maidenhead, the gigs here are arranged through a promoter and it's not particularly well paying but it's a great venue that has live music every weekend so really needs congratulating on that. There's also a decent stage area so you don't have to negotiate with customers/bar staff to move chairs & tables before setting up! We'd played there back in March for the first time and according to the promoter the pub had specifically asked us back (which is always a positive). From previous experience we knew not to start before 9pm but it was the night of the CL Final and they weren't showing the footy so the place was quite empty. First set went OK but the place filled up about 10pm and we rocked the joint for the 2nd set plenty of singing along and dancing. After doing an extra long encore and packing up the van we made a point of "mingling" and got lots of good feedback from the punters and more importantly from the landlord/manager who commented on the fact that we entertained rather than just played. Hoping we'll be back there again on a regular basis!

I've owned 2 Barefaced One10's and no way are they as loud together as a typical 4x10. From what I gather the Two10 is much the same as 2xOne10's as you would expect. Something based around a Kappalite 3012LF would be the only real option such as a Fearless F112 or the TKS 1126 (I own 2 of these and they are loud given enough watts). I'd avoid the Orange given the fact that it's Isobaric. Not many real world advantages over a single speaker and plenty of disadvantages including weight.

Collection only & £300 start makes it more than the impulse buy it would (probably) need to be but yeah, I'll be watching. They really don't turn up that often but the couple I've narrowly missed over the last year or two have been a lot cheaper than that. I remember trying one of these at The Bass Centre in the 80s, light-years out of my league then in both price & playability. Aesthetically always my favourite headless (didn't know it was a Flyte rip-off when I first saw one!) and almost on my list of Basses I Need To Own. Really would have to be a pink one, though.

By car or van (or taxi if staying at hotels in other countries). Never been one for this public transport lark, not through any snobbery, just laziness - carrying a load of gear on/off buses/trains/tube with a knackered back doesn`t suit me.

By car, learned to drive as soon as the law allowed so I could get my music gear around.

If you're stuck for ideas you could wire a kill switch, that way you can leave the bass plugged in between sets without draining the battery.

+1 For the Fender Rumble v3 head with either a BF One10 or Two10 if space allows.

Always thought he was one of the better rappers, rather than talk about girls, guns & gangs, it was empowerment & education.

Put two boards together today that will likely stay put for a while whilst I offload a bunch of pedals! I’ve run out of Velcro though so some are just being held by cables/gravity. Also ignore settings as they’d not been adjusted after put them together. Rock board. A bit of a squeeze and can’t quite reach all the buttons on the DP-3X, but it’s always on so no biggie. I’ve found the DP-3X to be so touch sensitive that I don’t need an extra dirt pedal, I just have to exercise more control! I do like to run a wah before it and delay/phaser at the end though, and that would pretty much just be more board if my band had not imploded. So since I’m playing mostly by myself, I’ve combined this with my faux Royal Blood style setup; ABY switch goes to the wah then the dUg on one side, and Tender/Whammy/Joyo/Delay/Phaser/Mimiq on the other. With the stereo doubler on the octave up and the bass panned central, it sounds amazing through headphones. I want to try a stereo phaser in place of the Phase 90 now! Funk board! VTDI is a very versatile pre, and there are great synth sounds to be found from running the Octabvre 100% wet into the BB Preamp and Fwonkbeta, or even both filters combined.

I thought that was a red light......

Oh yes! I've just done the same to my white Precision fretless... I like it

The Thrill is Gone. Probably because I've played it with Victor Brox, who played it with BB KIng. In B-flat minor for Victor's trumpet, which he plays right-handed while playing keys with his left. I play a walking minor 7th line with a lot of sustain, love the sound, but also the memory it always brings back of being so close to true greatness.

Looking at it I think you had a lucky escape.

Outdated information. Thanks for the heads up. I'll correct it to 33" For the following reasons : 1. It allows better placement of the bridge, while still using the same body as the CHB-1. The 34" had the bridge pushed back towards the tailpiece more than I was comfortable with. 2. 33" feels comfortable and familiar if you play 34", but still leaves the strings under slightly less tension for good semi-hollow bass tone 3. No tippy-tippy neck dive. 4. Nobody else makes them at 33". Nice to do something different.

Just spotted this thread! I'm a huge Chicago fan - particularly of the amazing bass playing/vocals of Peter Cetera (hence my name on here). For me, he took the best elements of Motown and McCartney basslines and progressed them further in a jazz-rock environment, aided by the fantastic Danny Seraphine on drums. Add the much missed and hugely underrated Terry Kath on guitar (and Ray Charles-esque vocals) and you had imho the FINEST power trio ever in rock! Yes, better than Hendrix/Cream etc..... Further add all the great songs and a kickass horn section and you have the now legendary Chicago 'sound'. Just fantastic!

I've always loved the tight,authoritative low end and grinding, biting top end 80's/90's rock tones of bassists like Eddie Jackson (Queensryche), Rachel Bolan (Skid Row), Kip Winger (Winger), Bruno Ravel (Danger Danger), Pat Badger (Extreme) etc etc. What did they have in common? The classic EMG P/J loaded Spector NS2 bass.... Having found one at the old Bass Centre in Wapping (the good ol' days) and LOVED the sound, feel, and look I then purchased various Spector basses! I was almost there, but there was still something not quite right (playing through Trace Elliot, Peavey, Ampeg, Ashdown etc) in my quest for the exact tone I was looking for.... The missing puzzle piece turned out to be the classic Gallien Krueger 400RB/800RB series heads from that period...... A friend invited me to try my Spector through his 800RB and the quest was complete!! So, to summise..... Active EMG p/J loaded Spector (with roundwounds) through old GK400RB or 800RB head and a suitable full range cab (in my case - currently a GenzBenz 2x12 Neo). Add in a little extra grit when needed from my Tech21 Dug DP3X pedal and I have aural bliss!

Nothing... I went solo 2 years ago. 😂

This is a difficult question to give a single definitive answer to, unfortunately! I'm sure that the likes of 51m0n and Skol can give you some far more informed advice than I can here but here's a few pointers/guidelines to help get your started. There are many variables that can have an impact here e.g. the instrument you play, the type and amount of compression you want (i.e. just a touch of dynamic control, some tonal shaping, say a punchy mid-range, the other instruments you're playing with etc.) Setting up compression can be very difficult especially if it's just the bass in isolation and not playing along with other instruments. This is where I suspect some people think it's not doing anything and then set up so they can noticeably hear the squash, but by that time you have killed all of your dynamic range. Try setting it up at a rehearsal when playing along with other people as it'll be easier to get it right without completely flattening the bass dynamics. The main thing to listen out for is a consistency or evenness of the bass throughout its range in the mix, so the low notes are not overpowering and the higher notes stand out and are clearly audible too. Your lowest notes will will be as even as the highest ones. The Threshold is the point at which the compressor starts to squash; anything exceeding the threshold will be compressed, anything that falls short of it will remain uncompressed. For me, I like to have this set so that the compressor kicks in on the lower notes to stop them overpowering the higher notes. The Ratio is the amount of squash that is applied to the signal once it passes the threshold. Too much and your bass gets too squashed, too little and you may find that things are still uneven. Getting the Threshold and Ratio right are the main things to focus on for now. Try experimenting with the extremes of the range of both the Threshold and Ratio so you get a feel what each of them does. Once you understand what's going on start backing them off until you find the point where they are enhancing the bass and making it more consistent in the mix but you still have dynamic range and subtlety. It's not an easy thing to explain what exactly to listen out for but once you have found what works for you, you'll start to be able to hear and feel it when setting it up for another bass, for example. Things like attack and release times and hard/soft knee setting are also important but I'd focus on the threshold and ratio for now. Hope this helps