fretmeister

I’ve had an F1, LM2, and a Marcus Goldline. I like the brand a lot. The F1 was a bit sterile for me. The EQ on the Marcus suited me better than the LM2 but both sounded great. I’d like to try the new Andrew Gouche AG1000 and the newish vintage heads. After using them with a variety of cabs I have come to the conclusion that they work best with MB cabs.

No. Never my no1 even to a friend And nothing ever to a friend of a friend. Only caveat being a monetary deposit equal to the full replacement value, returnable when I get the bass back in the same condition as it left.

This was how I used to do it 2 Output bass. Output 1 into the Ampeg SVT-BSP. 2 sounds blended together. Output 2 into the L6 Bas Pod ProXT. Another 2 sounds blended together. Those into Yamaha P5000S Power amp. 1 cab for each preamp. Now I do that all in a Helix. But - In the past I've one it with just a LS-2 and some pedals and 1 amp. The secret is to get a compressor on the clean side. Overdrive naturally has compression so the clean note decays faster than the driven one so it sounds un-natural. So compress the clean as well and match the decays so it sounds like 1 signal. There is no optimum blend percentage. Each drive / fuzz will need something different. So set the clean tone first. Then go with a 50/50 blend on the LS-2 and then tweak the level of the drive to work with the clean. It's more about volumes than percentages. But always start from the compressed clean because that is what will always be there underneath.

Another vote for a Super Twin. It's a lovely cab. I do everything from big band jazz to metal with it, paired with an Ashdown RM800 Evo 2 head. The tilt back wheels are excellent too.

That assumes the owner wants the extra for playing in the traditional way. Perhaps the guy wanted it to pluck the strings over the board like on a DB. Or maybe the extra is being used for tapping with the right hand. Or for both.

If it's a boss or similar the velcro will not stick to the rubber base for long. On older Boss pedals with thin rubber they can be turned upside down so the velcro can go on the metal directly. On newer ones the rubber is too thick. But you can get blank metal replacements for about £7 and keep the originals safe for re-sale.

They are not that thick. Re-carving to be flatter would mean making the centre of it really thin, possibly to the point of it breaking down the centre. The more I look at it, the more it looks like a 7.25 inch radius board (as per old Fenders) that has just been cut with an extension / extra length. I don't see why it would be a waste. There are other extra long 'board basses out there. The Ibanez Portamento and the Zon Hyperbass just as 2 examples at opposite ends of the money spectrum.

The radius isn't nearly small enough to be from a DB. I quite like it.

Boss LS-2 will let you have a clean blend with everything and set the levels. It's one of those really boring but amazing problem solving pedals.

Or get a bass with 2 outputs or use a splitter box and do the Entwhistle / Sheehan / Wolfenwotsit split rig thing.

Not much if anything. I've seen so many bands use instruments that were "wrong" for the genre that I decided long ago that it doesn't matter. Then I decided that the looks of the bass are unimportant or at least no higher than dead last on the list of priorities. Balance / weight / sound etc are all far more important.

I'm quite tempted by an ABM now as I've got a bunch of outdoor zero PA gigs coming up from the end of June and through the summer. All jazz big band stuff. Loads of brass and reeds. Just amps for the bass and the electric piano. Decisions, decisions!

Realities must be considered. Would you actually sue if he still used the name? Would you spend that money? If not, then there’s not a lot of point in trying to protect it. Ultimately it’s a cover band and the questions of actual IP ownership would be very convoluted.

I think the point is - if the PA is adequate for the room then nothing on stage should affect the FOH at all. I know quiet stages can be a bit "what's the point of rock n roll" but what is more important at a gig? The raging JCM800, or that the audience gets a great show and the venue invites the band back again?

I don't think I have a favourite type of music. And to make matters more complicated, the stuff I listen too isn't usually the stuff I want to play.

If you can do it in a little Zoom pedal then I'm going to buy one! I can do it in the Helix and there's even a bit of an attempt at a factory preset for it, but the switching is the thing - turning on and off the octaves and the 5ths for the pseudo guitar chords. Only 1 footswitch on the tiny zoom thingys.

Sounds like a Synth to me. It's definitely not Gene's original bass line!

Depends on the monitoring situation. With the right monitors I'm happy with a compressor and a Sansamp / modeller. I think another factor is whether the bassist is active on stage or just stands in front of the amp. If you stand by the amp all night then I can understand wanting exactly the right thing even though the audience and the rest of the band won't notice or care. But if the bassist is moving all over the stage then the sound from the cab changes with every step from it and they'll be listening to the monitors more than the cab anyway.

The Beatles wrote some absolutely amazings songs but Lennon & McCartney's voices as so poor the songs should only ever be sung by other people. Every single cover of a Beatles song is better than the original because of that.

Glockenklang Aguilar - AG700 / DB751 Ampeg - various SVT models Orange OB-1 500 I'm sure there's loads more.

The finish is a bit misleading - the green screen and chroma filter make the bass look like it has a chromaflare paint job. It hasn't - it's just the usual metallic green! I don't have a blue screen to have a different option. It's a great piece. The arrangement actually has it an octave up, but if I'm playing a 5 I might as well stick it lower!

I like that. I'm glad it's not 34 - with that body and the strap button at about the 13th fret I could see the balance being a problem with a long scale.