deepbass5

All of the above but from photo and crap around panel start with some contact cleaner or WD if you don't have that and spray a jack plug with it, and wang it in and out of each of those jack sockets several times. wipe the jack on a clean rag each time will show you how much dirt these collect. This goes for amps with jack sockets as well, air movement created from you speakers sucks dust into jack sockets and dirty the contacts, the contacts can also get weak over time and lose their finish and then tarnish and create high resistance in the scratches the jacks make. so try that first and if no joy and you have a meter handy set to ohms or Contact the setting that buzzes when shorted and check the closed contacts are actually making. I have owned one of these (great cabs) and the cross over relies on contact when no jacks are plugged in to that part. If you are bi amping ( using two amps one high one low ) you will be running two cables to woofer and the 8"'s and this is not an issue but sounds like this could be it

Fag yes, but that looks like someone left their pipe in there

First thing is to establish your target audience If this is weddings for example then you will need numbers from the 50's to the 2020's as you will be playing to Grans and Gramps as well as 3 year olds staring at you from 3 feet away. So we would make sure we start with a balance of 50's rock n roll - 60's pop - 70 disco hits - favorite 80's and 90's chart hits and so on. choose say five numbers from each era to start and work up from there, Don't fall into the trap of what band members like - its not about you. But of course if the band is playing local pups only and not family parties then I wouldn't bother with Steps or Agadoo 😕

Pop over to the exhibition and take the hardware off Pauls 😁

I never saw the attraction - the rise of punk in the charts was a distraction from good dance music so despised them As for the bass being smashed not an original rock n roll statement - but some people do blame their instruments and maybe he was annoyed he couldn't get it to sound like Mr Watt-Roy had recorded for him

selection of wood for construction on most mass produced basses is not conducive with good tone and sustain in my opinion. It is more by luck that some in the batch are better than others which is why it is important to always try several, not always possible in your local music store. I will always play them acoustically If they sound good and you could practice on them like that at home then they will sound good plugged in. You could spend some money on it but having been there, I feel you will end up passing it on later with the extra investment you have installed. Things I have found to work - Badass bridge - check bridge saddle screws are evenly tensioned ( not on one screw and leaning on the next saddle) - Check and tighten neck joint bolts - action and set up is correct along with string choice good luck with sorting the issues your local guitar tech maybe the best route before spending money

Gig damage is a worry, guitarists are clumsy need to watch them, but horn players are worse. Don't put your bass out until everybody is up and ready to go, is my approach now

Yep Twin wheel base Transit, No mobile phones or SATNAV then or any petrol stations open after about 11 o'clock

Lets see your collection then Owen - photo per chance I always feel you either own or have owned every bit of kit i have ever wanted. As i haven't bought anything from you for a while It would be nice to dream about what could come my way in the future 😄 don't knock um about too much

Reminds me of the first major band i was in The Leader says we are pooling some gigs to get an old Ambulance with aircraft seats fitted so we can all travel together. Its what you did in the 70's 😁 Within a couple of months he bought a new PA and ripped the seats out to make room for it and the stage risers and lights etc.

Yep everything he said in that video

mmmmm well drop me a PM when you guys are ready to pass on your old MB fusion 500

I have the Bach for bass by Josquin Des Pres. I need to spend more time on it but great ear- hand training My question to those above is that Cello and violins are strung in 5th's i believe and as the bass is in fourths wonder how much more difficult the intervals are to play on bass than the cello or Viola etc for which these were written. Some of the pieces are near impossible as they do not fall under the fingers , which is why i guess the practice on them does you good any cello / violin players out there that can comment

I asked Alexa If Spaghetti was invented by Louis Pasteur she then went into a long drawn out educational delivery on Pasteurization etc etc. why don't you ask her if she can belch a good beer or curry burp ☺️

Now you got me looking at Handbox again 😂 and notice they now do an M bass 500 twin channel basically the same as my old Mark bass LMK for under 380 pounds

Having read all your comments I was waiting for an amp engineer to weigh in with what is what. this is my amateur inaccurate memory of what happens I tent to agree with your sentiments that old Mosfet gear has heft, but are we talking about its ability to react quickly that is what we need I used to own an old mosfet Carvin Probass500 the spec sheet was very comprehensive and listed every trade secret in the listed design spec The THD was something like 0.5% at rated output - the sound to noise ratio was about -85dB my Mesa D800+ has a THD of 10% and sound to noise of -73dB The old Carvin made a point of the slew rate of the amp, basically the in rush current when you strike a note and how important this factor was to the design of a good bass amp and to the bass player. The old valve and mosfet SS amps had large transformers and capacitors that delivered this, it was sat there humming away waiting for you to demand all that energy , a Class D has to wait to see what you want from the amp ie a thumb strike or pluck and then go draw the power from the mains and then amplify it quickly and hope you happy with the result. I think what we want to know is if we need to bust some kidneys we have the power to do so. Headroom and weight. and yes my old Markbass LMK was a very early Italian job and as good as anything i have owned before or since. So why dont amp manufacturers state all these facts these days so we know and have the figures to back up what our ears tell us

well spotted. thanks my little Kyser bottle is almost out

The only questions left to mull over are If you are doing larger venues will your band also have decent PA to give you PA support. so you don't need two 8X10 with 2kw amp Headroom is often mentioned and is important so factor in extra dB so you don't run out of steam on those transient attacks, and damage your cabs. is often best to buy good efficient speakers, Loads out there, then 500 amps may well be enough.

Thats my fear - I did find myself a 4th out a few times whilst practicing thinking this sounds wrong and realising i'm on the E string not B and back the other way notes were no longer there for me that were before. I think the problem would be greater playing an old familiar set in auto pilot then you crash and burn when you have to totally re think numbers on the fly. muscle memory is a powerful thing

I didn't know these had been launched so thanks for your comments The MB Fusion 500 was a great amp, I got one to back up my Markbass, but used it for jazz all the time, I installed some NOS british valves and loved the warmth, agree with the cramped knobs and the light amp issue working its way of the cab. Wish i had kept it, when i went to two single 12 cabs at 4 ohms i used both the mark bass and MB fusion stacked ( same footprint) and ran a line out to the fusion to run the second cab. But in my eagerness to get a 2 ohm capable amp went to SWR SM500 and now a Mesa D800 + As I have given up the louder functions outfit and use one cab most of the time, I really fancy a three valve GK again.

I splashed out on a 62 relic Custom shop P bass two years ago this month, On the talk of starting a 60's band with a couple of old friends, it never happened It has been to just two rehearsals in two years and I had convinced myself that I am now a five string man till the day i die, the 62 CS and has been marked for sale at the bottom of my page for months 😂 But hey, a new year and I have been shedding away for three weeks on this and it has all came back to me, that 62 string spacing is no longer a canyon and I have now clocked up my first big band reading gig on it. When i went over to five string bass about 17 years ago i made myself play it for a year with no going back started by using the B string as a thumb rest until comfortable when to use it in my playing. So seems crazy why i didn't treat the new my P bass with the same dedication and determination. So I am now going to make sure i keep both 4 and 5's in use so i don't get scared and have to relearn them again. hope this helps some of you having the same fears in either direction. PS It is no longer for sale sorry, I will be editing my page very shortly , 😊

As low as I can get it and to follow fingerboard radius etc. after i'm happy the neck relief is right of course. I will do my own set up as and when required, maybe after having to switch string makes etc. I do believe that contrary to some posts. That tone is best when the action is as low as possible so the tension of the strings are compressing the neck, end to end and not trying to bend the neck into a bow that will occur as the gap increases. all our playing stiles will require some compromises i grant you