Leaderboard

Overview. Like many bass players out there, I’ve owned, borrowed and tried out dozens of amps from a plethora of manufacturers over the 26 or so years that I’ve been playing. Some have been combos but most have been heads. There’s just something I like about a box that you can put in a backpack or gig bag with some cables, take to any venue, plug in and get your sound from. Personally, I reckon a modern class D bass amp of 800 watts or higher is the perfect balance between power and head room, weight and portability, certainly for my requirements anyway. I owned an old Trace Elliot combo back in 2000/2001 for a few months after a crappy little Fender combo I previously had gave up the ghost. I can’t remember what the Trace combo was for the life of me but I do remember that it was extremely heavy and I’m pretty confident it was a 200 or 250 watt 2x10 model. I also enjoyed using a Trace Elliot Elf as a home practice amp for a while more recently and was hugely impressed by it. Needless to say, I had my eye on a TE1200 and took the plunge as soon as I could. So, here are my thoughts on the amp. Disclaimer: I’m just a dude who plays bass in a few projects and bands for fun, I am by no means a pro musician or online reviewer. All views are my own and I have not received any payment or other incentives to produce this review. What’s in the box? - Trace Elliot TE1200 amp. - 4 button footswitch. - 24ft footswitch cable. - IEC power cable. - Rack mounts. - Gig bag. Dimensions, weight and power. Dimensions: 305mm (12.0”) x 305mm (12.0”) x 91.9mm (3.62”). Weight: 5.22 kg (11.5 lbs). Minimum load: 4 ohms. Power: 1100 watts at 4 ohms, 835 watts at 8ohms. Build Quality. Quite simply, this thing is a tank. The metal construction is incredibly solid with nice metal knobs and protective bars on the front panel. The push buttons are of good quality and all of the jacks are good and solid. Similarly, the DI, speak-on sockets, power socket and power switch all feel robust and gig worthy. I’ve read online that some people don’t much like how the amp looks, but I quite like it and certainly like its rugged build. The packaging it comes in is also sturdy and the amp is very well cushioned within it to protect it from harm during shipping. The amp is a bit heavier than similar sized heads in its class but nothing like the weight of old Trace Elliot equipment and it can be easily carried in a gig bag or even mounted in a hard case using the provided rack mounts. It’s also worth mentioning here that the footswitch is equally well made. It’s reasonably weighty, has decent switches that are well spaced to allow room for your foot to hit the one you’re actually aiming for. Its weight and the rubber feet on the underside do a great job of keeping it in place when playing. The amp does come with a gig bag which is basically a giant version of the mini gig bag that comes with the Trace Elliot Elf. It is reasonably well padded and has an internal divider to separate the internal compartment into an area for the amp and an area for the footswitch and cables. Whilst it is great that the amp comes with a gig bag, I must admit, I tried it out and wasn’t that confident that the bag was sturdy enough for heavy gigging etc. I have since purchased a much more robust Gator 12/12 mixer bag to transport the TE1200 in as it is well padded, has good strong zips, a large external compartment for cables etc and has a decent shoulder strap. Features, layout & ease of use. Front Panel: The front panel of this amp is wonderfully straight forward and takes seconds to get your head around. As a blind player, I place great stock in an amp layout being uncluttered and intuitive. The TE1200 easily meets both of these criteria. It consists of a top row and a bottom row. The controls are well spaced out and all elements are tactile. Here’s what the front panel consists of. Top row, from left to right. Input gain dial: Unlike most amps out there, this control does not have an LED that illuminates when clipping. Low band compressor dial: Turning this control clockwise increases the amount of compression applied to the low band. Compressor active push button: This button is located between the low and high band compressor dials and activates the compressor functions for both low and high bands. It illuminates when active. This function is also available on the footswitch. High band compressor dial: Turning this control clockwise increases the amount of compression applied to the high band. Output level dial: This is the master level control for the amp, turning it clockwise increases the output. Mute push button: This button is located to the right of the output level dial. Pressing this button mutes the output to any connected speaker cabinets. The button illuminates when engaged. Mute is also available on the footswitch. Bottom Row, from left to right. Instrument input jack (1/4”). Bass EQ dial: This is centred at 70 Hz and is an active EQ control enabling you to cut and boost this frequency. Low Mid EQ dial: This is centred at 600 Hz and is an active EQ control enabling you to cut and boost this frequency. EQ pre/post compressor push button: This button is located between the Low Mid and High Mid EQ dials. The default position of the compressor is before equalisation. When the switch is pressed, the compressor is moved to a point after equalisation and the switch illuminates. High mid EQ dial: This is centred at 2KHz and is an active EQ control enabling you to cut and boost this frequency. Treble EQ dial: This is centred at 5KHz and is an active EQ control enabling you to cut and boost this frequency. Pre-shape push Button: This button is located to the right of the Treble EQ Dial. Pressing this button changes the EQ to the distinctive Trace Elliot “Pre Shape 1” curve giving the traditional Trace Elliot tone. This function is also available on the footswitch. Headphone jack (1/4”): When a jack is inserted, the signal to the power amp is automatically disconnected. Rear Panel: The rear panel on the amp is also very well thought out and intuitive. There are an awful lot of elements on the rear panel but Trace have managed to space them out well. Here’s what’s on the rear panel, running from left to right. MIDI Out Socket (top): When functions are toggled from the front panel or footswitch, the corresponding MIDI information is transmitted from this jack to synchronise the function with a slave TE1200. I know nothing about MIDI and will never use this feature but full details are laid out in the user manual for anybody who does intend using it. Footswitch socket (bottom): Connect the TE1200 4-button footswitch here for parallel control of the front panel switch functions. USB Out: This is provided for connection to a computer or a digital audio workstation for recording. Tuner out 1/4” jack (top): A direct send from the input circuitry for a tuner. It is not processed and is fully buffered. It remains active even when the amp is muted to allow silent tuning. DI Socket: This is a balanced output to send to a mixer console or analog recording device. DI Pre/Post EQ Push Button (top). DI Ground Lift Push Button (bottom). Pre amp out 1/4” jack (top). Power Amp in 1/4” jack (bottom). Effects Level Push Button: This button is located above the FX Send jack. Some effect units are designed for lower input levels. When pressed, this switch lowers levels to prevent distortion. Fx send 1/4” jack: This is located beneath the FX Level push button. Fx return 1/4” jack (bottom). 2x Speak-on output sockets. Fuse: Use only the properly rated fuse for your line voltage. Voltage Selector Switch: Set this to your local mains voltage. An incorrect setting can damage the amplifier. Power Switch. Mains input: Connect an IEC cable with the correct fuse for your location to this socket. Knobs and switches. The knobs on this amp are really nice. They are metal and feel good under the fingertips. Each one has a little notch at the edge so you can feel where it is pointing. This notch is quite small though, so quick adjustments in a gig situation may take a few more seconds. All of the EQ controls have a centre detent which I always like to find on an amp. The input, low compression, high compression and master volume controls do not have a centre detent. The push buttons are of good quality and respond well under the fingertips. However, they are the type that do not stay in or pop out when pressed. This did throw me for a minute to be honest, mainly due to my tactile requirements as a blind player. For amps that have the type of push buttons that stay in or pop out, when pressed it is immediately possible for a blind person to tell if for example, they have the compression button engaged or not. With the type that are on the TE1200 however this is not possible as the buttons simply give a click under the fingertip rather than staying in or popping out. This is absolutely fine for the Mute and Pre Shape buttons as it is immediately obvious whether they are engaged or not. For the Compression Active and Compression Pre/Post buttons it is not as obvious whether they are engaged or not, particularly if you only use light compression. Ultimately LEDs do light when these buttons are engaged, so it is possible to see from those, but if you are a blind player all you can really do is ask a band mate if the associated LED is lit. The FX loop level, DI pre/post and ground lift push buttons are of the type that stay in or pop out so are easy to tell which mode you have it set to if you are blind or are on a dark stage. These are good sized solid buttons with clear feedback under the fingertip when they are pressed. The power switch is a rocker style, is good and solid with a positive clunk under the fingertip when engaged. Sound quality. The first thing I do when I play through a new amp is set the EQ flat and make sure no compression or built in effects are turned on and play through it at a loud home practice volume. I have to say the TE1200 sounded very very good when doing this. The bottom end was warm, the note articulation clear and the punch very much defined. I was already quite impressed and then I started playing with the EQ a bit and engaging the compressors. Because the EQ is active, small adjustments go a long way toward sculpting your sound. Something I perhaps hadn’t been expecting from the amp was its brightness. The old Trace combo I had back in the day definitely wasn’t anywhere near as bright. I think that maybe I was half expecting the TE1200 to sound naturally darker than it actually does. This is not a criticism, far from it, I was very pleased with the inherent brightness of the amp. The high and low band compressors are simply awesome, I think so anyway. They manage to give you complete control over the high and low bands independently of each other. Perhaps the best thing for me at least being that the compression is never so extreme that it affects your tone in an unpleasant way. For me the sweet spot was setting the low band around 3/4 on and the high band around 1/4 on. This gave me a ridiculously tight bottom end and tamed the highs enough to give a nice even response across the fretboard even when really digging in. I have played with the compression pre/post button to try out having the compression before or after the EQ stage but I definitely prefer it before. The pre shape button is fun and really gives that absolutely classic Trace tone that we all know and love and wow does it sound good when using effects like fuzz, overdrive etc. This thing goes very loud indeed. I have used it through both my Barefaced SuperMidget and SuperCompact cabs separately, meaning that the amp is running at 8 ohms, but even at rehearsal with a very loud drummer I never needed to push the amp past 4 on the volume. I imagine running it into both cabs together at a 4 ohm load will be truly epic. What I have particularly enjoyed about playing through the amp is its huge head room, it has handled everything I’ve thrown at it with ease and stayed sounding great the whole time. The DI is very nice and extremely quiet and clean. The headphone out is also extremely nice to play through for neighbour friendly practice and manages to portray the actual sound of the amp rather than the weak tinny sound that some amps deliver through their headphone out. The effects loop again is very nice and silent as far as I can tell. A word of warning though, you will need to connect the footswitch to turn on the effects loop as it is off by default and the only way you can turn it on is by connecting the footswitch. I actually thought I had a faulty unit and was pretty much ready to send it back until I read through the manual for about the 4th or 5th time and noticed a single sentence that stated that the effects loop could be turned on and off using the footswitch. Within 5 minutes the loop was on and I was getting sweet sweet sound through it. Summary. I was very excited about getting this amp and I must admit I really really like it. It’s robust, easily portable, looks smart and most important of all, it sounds fantastic. I particularly like the simplicity of the front panel and its intuitive layout. It sounds great at low, medium or offensive volumes and it is very easy to dial in whatever tone you want. The only thing I don’t like is the supplied gig bag. If it had a zip or even a couple of plastic clips the amp would feel much more secure and I would use it. But given the amp’s weight I would much rather use an alternative gig bag. From a blind player’s perspective the amp is incredibly easy to use with regards to its controls and layout. The only slight issue is the push buttons as described earlier. If the push buttons don’t bother you then this amp is easily near the top of the list for best bass amp for the blind from a usability perspective. Sound is of course completely subjective but I would be very surprised if you didn’t like the sound of this amp straight out of the box and it can certainly handle clean tone and any effects you could possibly want to run through it. I ran fuzz, overdrive, Wah, flanger and octave through the front of the amp along with chorus and delay through the effects loop and it sounded awesome with all of them. To find out more about the TE1200, visit the Trace Elliot website at: https://www.traceelliot.com/ #BlindMusician #BlindBassPlayer #Blindness #PlayingMusicBlind #TraceElliot #TraceElliotTE1200Review #TE1200 #MusiciansWithDisabilities #ExperiencesOfTheBlind #BestBassAmpForTheBlind

The gamble paid off....Just to confirm the Epiphone EB-3 Long Scale case is a great fit for my '73 short scale.

Ordered a b-stock bass (MTD Kingston Z4) in December. I’d been watching it for months, just hoping I might get a Christmas bonus big enough. Bonuses were announced on 8 December, so at that point I knew I had enough. But when I checked it was still available, the price had increased by £100! I must have just been no more than a week late. I phoned on the off-chance that there was room for negotiation, but before I’d even finished my first sentence, Mark said I could have it for the earlier lower price. (He also delayed despatch so it would arrive on a day when my good lady was at the office!) In short: super service!

In distill of the night - The five satins

A genuine thanks; I need to hear what viewers are actually thinking. I thought that there might be a place for reviews that go in to detail and maybe teach something on the way (hence why I will demonstrate what a semi-parametric is and how it works. for example) but, it sounds like there is a balance to be had and a few things I can learn on the way. I create all of the material myself, I don't have an editing team, a producer or anything, so I'm still on a learning curve which is incredibly labour intensive along with finding time to teach, be a professional musician and a single parent to my lil demanding kids. Thank you and I welcome more views.

Hi, As part of my work on 3d printed guitars, I started thinking about what was the best pickup to use for either six string or bass. Currently my six string has a pair of Tesla P90's which sound great to be honest. I have an 89 MIK Squier Telecaster which I love playing but the neck pickup sounds like, well something very muffled and bad. I did think about buying a replacement pickup but to be honest, I haven't a clue. So I thought about making pickups and wondered how difficult it is. After reading a lot, it doesn't seem that bad to do, you have a bobbin, you have some magnets, you have an awful lot of wire and you turn it. I saw people doing this with electric drills, by hand and by using various automated winders. As I'm stupid and can't resist a challenge, I looked at doing my own pickups. I have a few Arduinos and stepper motors sitting around and I used to be able to code, so had a good walk with the dog to think, had a play with a 3d printer, an Arduino simulator and a lot of coffee. My working assumptions were that the major problems are: 1. Actually feeding the wire onto the pickups in a controlled manner 2. Keeping the tension correct all the way through. Since people were using their hand drills to do this, I figured that its not the worlds biggest problems and if I could use a computer, a lead screw and a stepper motor I could control the feed back and forth across the bobbin ad that tension is a simple felt pad to slightly slow things down. So below is the schematic on the Arduino simulator that drives two stepper motors, the top one at full speed and the bottom stepper motor at a far lower speed. The lower stepper motor drives a lead screw that moves the copper wire across the bobbin back and forth with no user intervention. As this isn't a video you can't see it working, but it does The actual core of the code is written, it didn't take that long, a few hours for a few days as I tweaked it. What it doesn't have is an interface to enter all the values, such as the number of loops, the gauge of the wires, the width of the bobbin, the number of steps of the stepper motor per revolution, the pitch oft he lead screw. Thats this load of code here. int ratio = 10; int stepperSpeed = 1000; // int stepper2Speed = stepper1Speed/ratio; int noLoops = 10000; unsigned long loopCounter = 0; int currentRatio = 0; char buffer[21]; double coilWidth = 3.0; double wireWidth = 0.0564; int stepper1Steps = 200; // 200 steps per revolution int stepper2Steps = 400; // 400 steps per revolution int leadscrewPitch = 2; // 2mm double step = (double) stepper2Steps / 360.0; double distancePerStep = (double) leadscrewPitch / (double) stepper2Steps; double numberOfStepsPerRevolutionAsFloat = ((double) wireWidth) / distancePerStep; Putting a simple menu system on here is probably 10x the work of writing the code so am thinking of ways to cheat Along with writing code, I started to physicallty put together the start of the winder. This is the first cut, it has an 8mm lead screw that will be attacched to a Nema 17 motor on the left hand side. This stepper motor will move 1 step every 11.28 steps for the main motor that winds the bobbin up. After 3mm of movement, the bobbin width, the stepper motor will reverse and move back. Each step is around 0.005mm of the lead screw, thats the level stepper motors can do even without microstepping (which TBH I don;t know how to do yet). So as the main stepper motor puts 10,000 loops on, the wire is carefully moved back and forth across the bobbin in a highly controlled manner. Thats the principle anyway. I know that there are screws missing and its a bit Heath Robinson, I didn;t have many M4 and M5 screws to hand. Moving the lead screw by hand is smooth and allow coils up to 120mm to be wound. No idea what that would be, but thats the options available. Next steps are Nema 17 mounts, adding in menus (masses and masses of work), putting in switches to detect the lead screw holder hitting the ends by mistake, adding in PSU, working out CNC shields or stepper motor drivers, mounting on plywood, designing a bobbin holder, designing a bobbin, getting some cheap AWG44 copper wire, but the basics are in place. Thanks Rob

Mauve On Up - Curtis Mayfield

We did a festival with Ash in summer 2019 and I spoke to Mark briefly - seemed like a personable enough guy. I told him Burn Baby Burn was the first song I ever learned on bass, which was perhaps not the compliment I intended it to be. The real gem was Tim Wheeler, who was an absolute darling. He watched our set from sidestage and then afterwards came and chatted guitar nerd stuff with me for ages. I was actually having a bit of a Moment after I got offstage because the stage was directly in baking sun and we'd all overheated, so I was laying on the grass with my head under a wet towel when a very polite voice went "Mind if I have a look at your pedalboards while you're busy down there?" He took us up to where their rig was being set up so I could check out the infamous Vee and his new EGC acryclic/aluminium SG and then we watched the set from there later. Sometimes you can meet your heroes, although preferably not while alarmingly red and sunburned.

@chrisba You are doing the Roland Bass Cube a dis-service there! It is an excellent sounding mini amp! I tried other mini bass amps back in the day and they were all poor and yes, tinny, but the cube was poles apart. I'm on my second one, used the first at home until it eventually died, just HAD to get another. I bought a powered speaker for home use, a secondhand Headrush FRFR 108. Not cheap but I'm loving it.

The rules given for tuners should still apply to strap locks. Do you smile or sigh when you buy them. Should be the answer.

I was hoping that silver wire would help me lose weight, regain hair loss, improve my diminishing IQ and make me more attractive to women and not just dogs.

I hope both of you can count better than that...

Rehearsal that was planned for yesterday with a singer who has been trying to get a band together for months was cancelled. She is out west and has been for a few weeks and will be back "around the end of the third week of January". She has had a couple of bands before Covid and for seven months has been working on a new swing band and asked me to play DB and all my musician friends said stay away but I thought it might be interesting. Seven months with about 5 "rehearsals" and she keeps talking about booking gigs...crazy! The keyboard player is about the best musician that I have played with in 60+ years of making music and the drummer is very good but she just can't get her act together and I told her yesterday that she will have to find a different bass player. Most people who have been in her bands last only a couple of gigs and I should have listened to them and stayed clear. I am out now and all the emails I am getting from her won't get me back, she has a dream but without some focus and a lot of organization on her part it won't happen. At my age I should have known better but she will never change. The good thing is that I have been playing in a seven piece swing band for several years and we have a rehearsal tonight and a couple of gigs in February. I also play in a bluegrass band that is booked for at least two festivals next summer and I help out with a youth orchestra. Main message is that if it doesn't feel right get out before you waste too much time and energy on someone's dream, I know some of you know exactly what I'm talking about.

Sounds fine on a 4 with a good octave pedal.

I had an LS2 many, many years ago and I swapped a couple of the jack sockets to facilitate better/easier cable runs. Perhaps this is his solution or maybe he bought my old one

I was gonna say the same. If someone just wanted to start somewhere, the 'Legend' album by Bob Marley is where I would point them. They could then work back from there, or forwards depending, or branch out into something a bit specific (But you guys in here know way more about the lineage than I do)

1st rehearsal with the new band today Was a little apprehensive but I've nothing to worry about. Great set of lads my age group (58-62) and I feel positive moving forward. I was spared "Rio" this time though. 😄 Fully equipped studio too which is a bonus.

After years of buying pedals, with shelves and drawers overflowing, multiple boards and power supplies, I have come to a realisation. I've actually got some favourites at long last. Not many but I'll show you mine if you show me yours. So, by category, here we go. Flanger. First time I played through it I heard the exact sound I had in my head. First time I gigged it, the whole song was transformed. Envelope Filter. A YouTube demo comparing this and several others sold me on the EBS. Man I love how easy it is to get exactly the right sound and it works so well in the mix. Octave. All the octaves you could ever need. Accurate and clean or rich and synthy, this pedal also has fuzz and phaser and is a work of genius. Compressor. I've been through an absolute ton of these, some do nothing, some break my sound, some are great, but this is the best. So childishly simple to use and to get exactly what I want from it. A budget miracle. Chorus. I thought I'd found my chorus (Ampeg Liquifier) but it just wasn't quite 100%. Then on a whim I splashed out on this. First gig I tried it and I just knew. Perfect. Again the sound I hear in my head. I'm still entirely at sea with regards to distortion, fuzz, autowah, multi effects, phaser, synth, preamp and others. I have preferences in every department but I'm not there yet.

If it were my kid/grandson/grandaughter - I'd really consider investing for them in a decent year of birth bass (something from 2006 if they're 18). A USA Fender or Precision - or a bass in that ball park. Bit like premium bonds, except the bass will rise in value - and they'll have lots of fun playing it!

When I bought my current DB from the Double Bass Room it was really interesting to see a room full of basses of different ages all together. They're so lacking in standardisation compared to violins! Different heights, depths, widths, shapes, colours and of course sounds. I'm not really convinced that they fit neatly into 3/4 and 4/4; it's more like a spectrum. My choice was mostly down to the sound (with an eye for condition obviously) and I came away with an instrument that's getting into 4/4 territory for height, but perhaps on the slender side in terms of width and depth compared to some 4/4s. I guess most people choose for similar reasons - which bass sounds the best to the buyer's ear? As for convenience, any double bass is a massive pain in the derrière to move around and I don't think a few inches here or there make much difference...

I got a QSC K12.2 for rehearsals and potentially gigs, works brilliantly with the Quad Cortex, they do a 10" version too, it's plenty loud enough to hear over a hard hitting rock drummer, has plenty of interface options and sounds great. Not the cheapest, and other units from RCF and the like are available.

I think readership of magazines and viewing of magazine-type YT channels and similar depends on where people are in their journey. When I were a lad and it was all fields round 'ere, I devoured magazines, articles and anything else I find to help me learn. Now I'm ancient and reasonably satisfied with the gear I own and the knowledge I have, I only read/watch them if I'm thinking of buying something and want to get the lowdown on it. Either that, or I might come across something new (to me) musically and wish to pick up tips on technique or add to my knowledge (such as learning what a semi-parametric is and how it works) to help me get to grips with it. That applies equally to my interests outside music. I rarely if ever look at angling or hi-fi mag's any more, either. That probably isn't a great help to you. Apologies, but I guess I'm not part of your typical target audience. I guess what I'm saying is that the most interest in what you do will likely be from people starting out or those wishing to improve their knowledge. So it's probably not a bad idea to aim a lot of your content in their direction.

Dood, I actually really like your laid back, unedited style. I've never been a fan of those super quick talking, choppy fake happy people. While I understand that those types of people do get a lot more traction on youtube, I think you're a breath of fresh air. Next time I log in to youtube, you have a new subscriber 👍

An Old Raincoat Won't Ever Let You Down - Rod Stewart

Do what you do - Jermaine Jackson

+1! Up the pace and/or edit more leanly. E.g. I jumped in randomly to the above video: from 3:49-3:59 you inform us that you're about to flip the bass over, and then you indeed go ahead and flip the bass over 🤷‍♂️ That entire bit should be cut out. You're an experienced reviewer and when you do say something it is interesting - but I'm not going to commit to watching a 10-minute video knowing it'll only have about five minutes of actual content.

Given the 10 year gap I’d like to think the op has had enough time to learn it by now!

Agreed! One suggestion: would have been really helpful for live use if the filth button and, especially, the dirt button had been stomp switches, so they could be easily foot stomped on / off when needed for parts of songs. Not sure how tricky that would have been to incorporate@Tech21NYC? If that had been available, I would have been sorely tempted to part with the list price for it!

Wow... after seeing it, if the damage is from storage, how is the neck? If the neck is all-good, then likely the body wood wasn't quite ready, or something up with the initial prep and paint. As @BlueMoon has mentioned, send some pics out to Fender...

No one has mentioned Bass Gear Magazine again! I've been on board the magazine for a little while now and shoot all my reviews from my own studio here in Blighty freelance. I've a long list of really great gear to get through already and we've only just started the year, It'd be REALLY great to have more subs and, just more of you reading my reviews! Genuine question though, as I'm busting my b***s to create high quality content... why is no one seeing it or sharing it? I post long threads here with all my review links in, so there's little effort on the part of the reader required to access them, but there doesn't seem to be much feedback or replies to my posts? Maybe I'm doing it all wrong and I should be doing slap bass ego trips, lots of shouting and stupid click-bait? lol! - It's worth noting that I don't get paid per click or by advertisers or brands, so follows, likes and clicks are not so I can earn extra money, it's because I want to be out there earning exposure dollars (said no working bassist ever lol but in this case, it's true. I DO want to be on everyones 'top reviewers' list!!) Whilst you're here, please subscribe to my own YouTube Channel where this year I'll be posting high def shorts of my reviews. Example review here:- https://www.bassgearmag.com/bassic-review-spector-euro4-lt-bass/ You can sign up for the free subscription newsletter at the bottom of the review linked here.

I am in. I don’t need anything whatsoever. That said if my lakky sells I could be tempted by another uv70 and get it refinished. 🤔

I read @Richard R's post immediately before this one and thought "23/6? That's a really odd time signature".

One of the big reasons for the decline of rock music discussed by Rick Beato and one of his mates, a former record company exec / A&R man / producer:

Slayer - Raining Blood Trust me, they'll love that.

just a small update to the flyboard.

Victor wooten - The music lesson Not just for bass.

It sounds a lot better here than in the Tech 21 demos, definitely some useful sounds in there. I'd love to try one, but probably won't.

Spent all day yesterday in the huge cold industial unit 'venue' that is KK's Steel Mill in Wolverhampton where we were filming the new promo video for "The Bootleg Rock Show featuring Leather & Lace", our 'rock anthems & power ballads' theatre show.... Huge stage, lights, video screen and sound. Looking forward to seeing the finished product!

Walk The Moon - Shut Up And Dance Anything by George Ezra Ed Sheeran Etc etc etc