fretmeister

If it is possible, then I bet someone on the facebook main user group will know. Have you posted it there?

That's beautiful. One of them is next on my list.

It's now the RM500Evo-ii If you just search for RM500 it will show the old model as out of stock because it is discontinued. The RM800 Evo-ii comes up used on here sometimes and it would give a bit extra headroom. I've got the RM800evo-ii and it's really good. I use it a Barefaced Super Twin (very lightweight and tilt back wheels) and it takes whatever I throw at it, be that my usual big band jazz gig, or rock jams with friends. I've not tried the Orange but I like the demos and I'd like to.

I like tweeters, but only when I'm playing at home on my own. Same as roundwounds strings really. As soon as I get in a band I don't want any of that zing. If I'm having trouble cutting through then I low the bass quite a lot and increase the volume and bump the mids.

I've had a Mk1 and Mk3 Sounds about right. Using 1 output only really works when just sticking to a single pickup, or all on full. When the outputs are joined you get insertion loss due to the loading on the pickups by a variety of passive controls. On a jazz bass that gives the famous mid scoop sound that everybody likes. On a P with a massive woofer as well it's just a bit crap. IIRC Billy's own basses don't join the outputs. Even at clinics if he is only using 1 output and wants to swap to the woofer he unplugs and re-plugs rather than just changing the volume controls.

Good luck!

Like the above I don't understand the bit about cutting overtones. Overtones are usually quieter than the surrounding part of the tone and compression usually makes the overtones louder. Compression is unavoidable. Every amp has it built in to an extent. Sometimes just as speaker protection, but often because the designer wants the amp to have a particular response. The PA will be using compression and the FOH guy will be applying it to just about all the instruments to get the mix right for the audience, even if you haven't got any extra on your amp itself. Even for acoustic instruments - there comes a time where the strength of the strum doesn't increase the volume anymore, but the sound still changes a bit. Same for brass and woodwind. At some point the extra air going in does not cause a higher output. I use it quite a bit - but within a show I move from fingerstyle to plectrum to slap depending on the songs. the difference in dynamics for those 3 is massive. It's not a volume issue - (not that I could accurately set the volume for each song every time) - it's a dynamic range thing. A perfect plectrum strum could be just right, but be too quiet as a finger pluck, and completely over the top for a slap & pop.

I have the rm800 evo 2 and I used to have the Puma (the same as the eich before their boardroom arguments] The Ashdown is a lot warmer. I thought the Puma was really sterile sounding no matter what I did with the controls. I ended up using it as a power amp with different preamp pedals instead.

I like the TC Polytune a lot. BUT - every tuner brand behaves a little differently and sometimes even shows accuracy a bit differently. So if the rest of the band are all using the same model - then get whatever they are using. The Peterson Strobostomp is probably the elite level pedal though. If you play guitar or other instruments that need tuning as well, then that's probably the one to get.

It was a school thing. Basin Street Blues.

Weird, isn't it. The Group flats last for donkeys but they can't get it right on the cobalts.

I've tried so many flats and they are all different. I have 3 that I would buy again Ti Flat EB Group 4 Dunlops The EB Group 4 are 40-95 and feel the highest tension (I've not looked) of the 3, but they are much smoother under the fingers that the other 2 and have a relatively bright tone. The Dunlops are next and have more of a trad tone. Not quite as thuddy as La Bella's but more versatile. They are a bit more flexible. Ti Flats - the famous mid pushed low tension option. The EB Group 4 are my favourite of those.

I like it when makers push boundaries. Have you got a pic from playing position that shows how the arm bit stays out of the way?

Be nice if MB actually responded to emails about pricing of the new stuff. Even a “we haven’t decided yet” would be better than nothing.

The ten inch range of BF sound very different to the 12 inch. The 10s are voiced to be far more vintage / traditional in tone. I used to use a set of Mark Bass Club 1x12 and they were very good, but I prefer the clarity / flatness of the BF 12s these days. I think Mark Bass were the first major brand to move to genuinely lightweight cabs, but as with all things there were developments from competitors and BF then went lighter still. Now GR have some models that are lighter. Now Mark Bass have introduced their new line that are even lighter. Can't want to try them. I did notice that the photos of the new cabs suggest they are very deep. Hopefully not so large that they've got them lighter but they won't fit in my car!

Definitely this. The comments on the vids are always from sad old blues gear snobs. "It's got no feel man" Not to you. But maybe to the person who's just spent months nailing a really complex part it is the most emotionally connecting music they have ever heard. They wouldn't have learned the part if it didn't call to them in some way. Doesn't matter in the slightest that a piece doesn't speak to me. Fair play to them - many are really young and are in the "play along to favourite records" stage of development. Some will stay in that groove and be in covers bands. Some will go on to write some banging original music. The only difference is that for my generation we didn't have a chance to share our play-alongs with the world. The amount of really capable young players on youtube makes me feel really hopeful for the future of music. There's some really dedicated youngsters out there with a work ethic that shames many of us.

I like a little banter. 3 songs then say hello, thanks for coming, then another 3 or 4, maybe say something again - 2 sentences sort of thing. No speeches. Ask them to join for the last tune.

For at least 20 years I was all about the Status Basses. Loved them. Then as I got injured I needed lighter weighs. So I bought a Streamline. Easily light enough but the neck shape was so different to my older ones. It felt almost square in comparison. I couldn't get on with it. So my long love affair with the brand came to a forced end. A real shame. Then I went through tons of instruments trying to find the right thing. I am a creature of habit and when I get a comfy instrument the rest tend to gather dust. But saying that my new love - Sandbergs - use the same neck shape for J and P and even the new 'Ray inspired model so I can get a lot of variety and stick with a neck shape I like - and they will build any of their models in Superlight specs. I've got a TT4 and a TT5, both Superlights at the moment and I've got a Lionel short scale in the build queue - also a Superlight. I believe it will be the first Lionel superlight they've done. Only 7 months to go until delivery!

Yo Yo Ma is one of the very best cellists in history. No dispute about that at all. Has he written anything as good as Mozart's cello sonatas? Nope.

I owned a 2005 5 string - one of the limited Buttermilk ones and it was lovely, but ultimately too heavy as I got older. I'd love a 4 string special. Right at the beginning of the specials there were a few that actually got as light as 7lb. One day I'm hoping that me having enough money to buy one will line up with a 7lb one becoming available. Knowing my luck it will be a bright yellow one. Urgh. Natural with a rosewood board - like 'Nard's one - would be perfect. Classy, understated, fit in everywhere.

Not a clue. Since the invention of downloads I haven't had any liner notes to read. So I haven't looked for at least a decade.

I remember all the abuse Iron Maiden got for Seventh Son of a Seventh Son because of the keyboards. I thought it was excellent. A band that was growing and wasn't afraid of trying things.

In stock at Bass Direct at £549.00 Too rich for my blood, but I can see the use of it. It it had an octave in it as well then I'd be thinking a bit more.

Images not loading for me.

Long established well regarded shop.