bassist_lewis

The bass you like will always work best. but you will need to look into string gauge and set up if you're doing lots of tapping, sweeping, solo-y stuff.

Bass needs to be felt, not heard. And you don't feel twang 😜

[quote name='JTUK' timestamp='1448193859' post='2913528'] What is the action like between basses? [/quote] This would have been my initial reaction, in my experience this has the most affect on hand fatigue after technique, which, given the problem only affects one bass, isn't the issue. A badly cut nut will only affect the first 3-4 frets and is more difficult to correct if done badly/unnecessarily. And as said above, flats are stiffer and require more effort to play anyway.

I paired the One10 with my super compact last night in a pretty big function room, probably 50 feet long. It sounded HUGE!!!

I've only had the cab a few days but I've already used it on a gig, a recording session and a live video recording. As you can see from the first picture, it is very tiny! For scale, in the third picture the rig is on one of those ubiquitous IKEA stools and is about the same height. SOUND Its been compliments all round about this amp/cab combination. In the recording session, through a very nice microphone, the sound was something like Chuck Rainey's work on Aja.It has an overall vintage sound so less top end then you would get from one of Barefaced's 12 inch speakers and plenty of bass and low mids. If you're after sparkling highs for that cheesy fusion slap tone then this cab won't do it. But it was never intended to. I used the cab for a live video recording and the band leader quipped "where is all that bass coming from?" when listening back. I have rehearsed in that room before where they usually have a 4x10 (nmot going to say the brand but not an expensive one!) and this was easily as loud and audible against, keys, drums, guitar and 3 brass. SIZE/WEIGHT I bought this cab because I needed something that was small, light and loud for my local gigs where backline isn't provided. This means I can get around on public transport carrying my guitar on my back, cab in one hand and my pedal board and amp in an IKEA bag in the other. Even easier if I don't need my pedal board! I even managed to walk home while very intoxicated on wednesday night/thursday morning without taking a rest. CONCLUSION This is a fantastic solution for small gigs where you have PA support and rehearsals. Most venues will be too big for this to fill on its own but realistically most cabs can't fill most venues on their own!. Its easy to carry and has a great vintage sounding tone - though I haven't tried any other amps so it may be versatile than I'm able to discern. Highly recommended!

Went and bought myself a Barefaced One10, which turned up this morning. I played one on my visit to the workshop so I knew I'd like the tone, much more vintage than the 12s, a bit less top end but still plenty of bass. It's also plenty loud, I'm using a Streamliner which is putting out about 500w which the cab is handling with not bother, the overload light hasn't even come one! I've got some recording and a gig tomorrow and some other stuff next week so I'll do a more thorough review then. L

I was lucky enough this Thursday to go and visit the Barefaced bass workshop in Brighton. It's smaller than I imagined it would be but far more exciting! Alex couldn't have been nicer showing me all the machines and cabs being built (some that I'm not allowed to talk about) and explaining how things work and some ideas he has for new cabs. I even got to play on a few different ones, namely their 2x10 and the new 1x10 as well as the super twin (2x12). There really is a huge tonal difference between them all, very vintage thumpy thing going on with the 2x10 and more clarity in the 2x12. The new 1x10 is a fantastic little cab, tons of volume, tone and outright "balls"! Regrettably I forgot to take any pictures...

Hi guys, I'm looking at buying a double bass from thomann - it will be the cheapest model as I'm a beginner and have a limited budget - and they offer to set it up before shipping. However I don't know any of the language or words used to describe aspects of a double bass set-up. Is there much crossover with electric bass? I would probably be playing more pizz than arco (certainly to start with) if that makes any difference. Thank L

[quote name='xgsjx' timestamp='1442903217' post='2870295'] Sounds like it's probably not even Velcro, but a cheap imitation. Get yourself to the shops & buy some proper stuff for the job. [/quote] Having looked at the tick closely I don't think it would be possible because the Velcro is sown to an outer skin which then has an inner padding sown on the inside so you'd have to remove the outer skin to replace it. I considered replacing it with pop fasteners (I don't understand why any premium product would even use Velcro!)

... that was weird...

I think I'm coming at this from the opposite end to a lot of you older guys (who have done most of the posting here). I started making the effort to be a regular gigging musician about 5 years ago, I got lucky in some respects as I got in with a wedding band that operates like a franchise so has up to 10 bands out on a Saturday night and therefore always needs musicians. This introduced me to a lot of good people and also allowed me to cut my teeth in the wedding/corporate scene. The skills I learnt there have helped me get more of the high paying gigs (allowing more time to practice) and informed a lot of my original music. I think one of the key differences between those who don't give up and those that do - excluding personal choice and injuries - is that they got in with the better/busier players in town, which leads to better gigs and opportunities, which gives you motivation to do more. I've played with a lot of sub-standard musicians because I wasn't moving in the' good musician' circles at the time. Because I powered through, learned from my mistakes and orchestrated a few situations in my favour, I am now a far more in-demand player. I guess it depends how much bull$#£ you can put up with - hint: it's a lot - and also how self-aware you are. Luck may also play some part in it too...

I think I'm coming at this from the opposite end to a lot of you older guys (who have done most of the posting here). I started making the effort to be a regular gigging musician about 5 years ago, I got lucky in some respects as I got in with a wedding band that operates like a franchise so has up to 10 bands out on a Saturday night and therefore always needs musicians. This introduced me to a lot of good people and also allowed me to cut my teeth in the wedding/corporate scene. The skills I learnt there have helped me get more of the high paying gigs (allowing more time to practice) and informed a lot of my original music. I think one of the key differences between those who don't give up and those that do - excluding personal choice and injuries - is that they got in with the better/busier players in town, which leads to better gigs and opportunities, which gives you motivation to do more. I've played with a lot of sub-standard musicians because I wasn't moving in the' good musician' circles at the time. Because I powered through, learned from my mistakes and orchestrated a few situations in my favour, I am now a far more in-demand player. I guess it depends how much bull$#£ you can put up with - hint: it's a lot - and also how self-aware you are. Luck may also play some part in it too...

There's no fluff in either the hooks or loops, the loop side has just "fluffy", strands sticking out everywhere

i have a mono M80 and the guitar tick and although I've only had both for about 4 months the Velcro has lost a lot of its stickiness. Does anyone know how to restore it? On the M80 it's the cable holder and it's the loop side that is showing signs of wear.