fretmeister

I really want one. I saw Nathan Navarro's vid and there was one sound that I like so much I'd pay the price just for that tone. At least I would If I hadn't just paid for a car service and MOT.

I tend to go bass > envelope filter > octave > compressor > drive.

Your sustain knob will either be a Ratio control or a Threshold. Different on different makes - and I hate that they don't label them properly! Adjusting that with the attack control might let you reduce the nastiness a bit, but possibly at the cost of not quite having the effect you want from it. A good isolated power supply can work wonders though. What drive pedal are you using? They are often the worst offenders for background noise - sometimes they are making it, but also they are massively boosting any noise that exists in the system before it reaches the drive pedal - as far back as your pickups. I went EMG + posh power supply many years ago and I can't see me going back just because of the noise issues.

Normal behaviour for a compressor. All the low stuff gets boosted including the crap you don't want to hear - particularly for drive pedals. Could put the compressor in a different place in the chain, and also experiment with different power supplies to the other pedals to see if that helps reduce the noise they are making.

I've got a very nice American Special. It's very light (I put Ultralites on it and it's only 7 3/4 lb now), action is great, and as it is a Special the neck is a little slimmer than a regular P. It sounds just like a P bass should. But I never play it. I seem to be keeping it because there is something stupid in my head that demands that I have one, because it's a precision and all bassists should have one. Which is clearly bollocks. I really should start looking at shifting the stuff I don't play.

Jack Meoff.

I started a band where the singer and drummer were married. It was 2 men, 2 women and the them and us ended up being girls -v- boys! It was a bit weird sometimes singing duet parts with her when her bloke was on the tubs watching!

I like that logo. Definitely better than the attempts of using a Fender font to say something else. Like that god awful "Fecker Jizz Bass" that went round for ages.

That gets me too. I've never played a Limelight but people that have seem to love them. I don't know why they don't take the Sadowsky route and build their own brand. Every time someone gigs a Limelight and a punter thinks "wow - nice bass sound" they just think it's a Fender. No benefit to Limelight at all, no advertising etc. I don't get it.

Equity and the Screen Actors Guild have a requirement that nobody else is using the same name - does the MU have a requirement like that at all? I'm guessing not, but curious.

This is exactly why disclaimers don't count. The first seller might well be entirely honest - the next time it is sold the seller might not be. Limelight's back of headstock marking doesn't protect them at all. And they are doing it for financial gain - it's a business!

I've used one of those. The Pitch Correction bit is optional on it. The best thing about that pedal is the EQ, De-esser, and the compressor. Those are the things that any PA system should be able to deliver if the person controlling it knows what they are doing. I did try the pitch correction on it when I had a bad cold, but it was weird so I knocked the high notes down to something easier to hit instead. The Pitch Correction in that pedal is very gentle indeed even at high settings and won't correct properly bad pitch. So just get whoever does the "great PA" to learn what they are doing!

My recently obtained Tech21 VT500 has a fan but it is speed controlled and at home TV volumes it doesn't come on at all. I've not used it next to a drummer yet to see how annoying it gets at proper volumes. Have to wait for September for that.

The legal position is very clear. You can put any logo on your own instrument. You cannot sell that instrument, even with a disclaimer, as that is selling a counterfeit. No ifs or buts. Disclaimers do not change the status of the item. The item itself, at the point of sale or beyond is liable to confiscation and destruction. The intent of the person selling is irrelevant to confiscation / destruction (hence disclaimers not having any effect at all as to the status of the item) as it is the item itself that is counterfeit. The intent of the person only becomes an issue if they knew they were selling counterfeit goods and that can open the person up to liability for a simple refund or worse if it looks like a business. Fender own their own IP and get to decide who can use it through licensing arrangements. Fender do not sell logos individually to the public. Every logo you see that is not on a genuine Fender product, or is still on the waterslide sheet is a fake logo. Obviously Fender go after the big producers of counterfeit instruments rather than little guys like Limelight but there is no doubt at all that Limelight are breaking the law if they don't have a licensing agreement with Fender to use their logo, and anyone who sells a Limelight onwards is doing the same. Several other, larger forums have an outright ban on all counterfeit instruments similar to the Ricky ban here. I know of one forum where they got proper legal advice on the point and then made that change as the owners of the forum were concerned about being dragged into any litigation by an IP holder (like here for Rickys). So the OP's poll is missing a bit really - in all circumstances it turns what might well be a fantastic instrument into a counterfeit one and at risk (no matter how small) of being seized and destroyed.

I've had a variety of small cabs before and my favourite was the Barefaced One10. I had a pair for a while and gigged them. At the time they were the very lightest cabs - I'm not sure of GR now make an even lighter one, but I have no experience of how they sound. The One10 has quite a traditional sound. I only sold to get a Super Twin - sometimes wheels are just easier!

Those Aguilar P pickups are some of the most realistic / trad sounding P pickups there are. They are very middy, but so were original P basses. They do react beautifully to a passive tone control though, the treble gets reduced but the bass doesn't ever get too muddy. Fantastic for just about everything apart from modern metal I reckon - But at the same time they work in the mix and sound a bit honky when playing alone.

That's what it looks like to me. The American Specials didn't have the Badass and did have it mentioned on the back (IIRC) of the headstock.

That's quite depressing.

I’ve had the One10 cabs and loved them, then needed something bigger and now have a Super Twin and really love that.

Well, I do need a 5 string to place the soon to be on sale Stingray 5 I have. So yes. Kind of. I do have another 5 but that has flats on it and I could do with a roundwound option without changing strings. Ahem.

I need one. Ive decided.

Why not just ignore the B rather than take it off? You'd have to faff with the truss rod etc without a string on it.

I really like the M900 but I can't really keep 3 (marital harmony and all that) and these days I'm playing more and more clean-ish sound stuff. Far more Duck Dunn than Billy Sheehan now!

Low is at 55Hz.

So far it's been silent - the manual says it only comes on when it needs to and I've had a good 30 minute thrash in the house until my teenagers got upset! I don't like fan noise either.