fretmeister

The new BQ500 amp is up at £181! How noisy are TC fans?

I’m going to say it. Helix and a power amp.

Shared EQ though.

I would love a Euro XL4. When they build one under 8.5lb I’ll buy one.

The Jackson is reminding me of my youth when I wanted to be David Ellefson.

Big plate tuners models (Vintage / Mex 50s & 60s etc often have neck dive. Modern ones with lightweight tunes have it less, and quite often none.

I saw a few posts moaning that spellings will be European and measurements will be metric. Strewth. Only the US uses imperial. The rest of the world has moved on. Also - I saw one about some idiot demanding more "domestic" brands. Well "domestic" is now British. US brands are now the imported stuff. ha hahahahahaha!

Surprising that Ed Friedland is being a bit twatty about it - unless of course he's just got the sack. No appreciation of the brand? I rather imagine that the Future guys bought it because they liked the brand! "For me, Bass Player has always been about the voices within. The contributors and editors shaped a new dialect, a way of communicating about the bass. Over the years, a culture was born, nurtured, cultivated, matured, established, and to a degree, institutionalized. The current owners have no sense of what they have, no appreciation for the brand. I’m sure the Bass Guitar crew will do the best they can with the limited resources made available to them, but for the most part... you can expect something very different. Better? Always a matter of opinion."

I use the tone on the bass to control the treble rather than the amp. Drive level depends on the bass used. I turn it up until I can hear drive then knock it down again a smidge. The tone flip switches are important. the bass EQ isn’t always quite that high but never far off either- depends on the room. b3k model as said. into Barefaced One10 which is quite vintage sounding too. And last week I was playing Van Morrison’s Moondance with it. Nice walking line to play.

I like that! Full. On. Chubby. How much? Do we know yet?

And a Barefaced One10 cab (or a pair if I need it) I'll grab a photo of the amp settings when I get home.

@drlargepants Saw the comments about the M900 - do you want a photo of my settings? I'm using a passive PJ with it and I'm very happy with my big band sound. Chunky bottom, enough space in the mids for the trombones, and a little treble, and with a touch of wooliness provided by the B3K circuit. The VMT circuit should be the better choice for this... but it isn't. Far too much mids clashes with the other instruments. The B3K circuit does it far better and with less EQ mucking about.

Boss / Fender 63 Reverb. Old DOD Phasor is sort of brown / red Boss Octave

After a couple of weeks playing it with the factory set up - I like it a lot. I have had to adjust a little playing the G string due to the usual EBMM habit of only having a micron movement before falling off the fretboard but I'm getting the hang of it. It's not as clanky as my former metally self would have preferred but it does suit the big band stuff far better. The low B seems stronger too. I'm guessing that the string was being choked a bit even if I couldn't hear any buzz.

Excellent. The great thing about having a few sight reading books or example tests is that it forces you to read rather than remember. I've got a really good memory for bass parts - I can remember stuff I last played 5 years ago quite easily - so it's hard to tell sometimes if I'm reading a piece or just remembering it. So I try to use new stuff any time I can. Great thing about the bass guitar - you can pick from millions of piano scores and just play the bass clef part for practice. I just ignore the chord element and play whatever the lowest note shown is.

Probably be a small group who have played all the supposed top gear. I've never played a Ritter or Alembic or Carl Thompson, and only had 2 mins on a fretless Wal. I have played Sadowsky, Marleaux, Fodera, Status, Modulus. Of those - they were all lovely and very different. I thought the Marleaux was the best *for me* out of them. BUT if Status went back to their older neck profile that was more C shaped rather than the D they have now... that would probably change my mind.

Ive used Mark Bass gear with non Mark Bass cabs with a great result. I think their heads are great but the cabs are a bit lacking. I had the LM2 with some Bergantinos and that was superb. So I'd be looking at cab swapping first. I play a lot of walking stuff - mainly big band with a 20 piece horn section. I either take a Tecamp Puma 300 or my DG M900 - but always through Barefaced One10 cabs. 1 for rehearsal and 2 for gigs. I'm really impressed with those cabs - amazingly full in the bottom and enough top end to hear it come through. No hiss or fizz as there isn't a tweeter. I never got the chance to try the LM2 with the Barefaced cabs, but I'd be amazed if that didn't do what you wanted. Super light weight too.

Yamaha DXR10 is very good.

Every courier is simultaneously described as utterly shite and amazingly awesome. It's a coin flip - very time. I've sent hundreds of parcels with Parcel Force... then they killed a Ashdown Cab I sent. Cost me money and I was very annoyed. But that was less than 1% of the time. I've never had a problem with UPS or TNT. Again - probably the odds currently in my favour. They are all great.... until they are not.

That's lovely! Alas it's also about £800 more than the Sandberg. Which means I can't afford it.

Do them again next time. Then add new ones. Bit like learning scales. You don't nail a scale and then never play it again. Otherwise in a year you'll be able to sight read Giant Steps and you'll struggle with Bah Bah Blacksheep! A great timing exercise is to take 12 bars of something written in 4/4 and then shift the bar lines so it's in 3/4. You'll end up with a few more bars. The notes are the same. The length of the piece is the same. But the pulse of the music, with the ONE landing differently will be very different. It's a real head-scratcher but a great exercise.

I do. It could be - as it is subjective and not part of music education - that we have different views on what it is. I'm with Jeff Berlin on this one. Groove is not a subject.

"Time and groove" is a wasted slot. Replace that with reading. Reading has time in it. Groove is a nebulous subjective thing that doesn't happen without playing with other people. Groove really is ignoring strict time and either pushing or pulling the beat. That's a performance point rather than a learning about music point.

Is that even possible? Wouldn't the black element get rubbed or chipped off - possibly lowering the fret height and causing buzz?