stewblack

Is it worth trying to learn winisd or do you need multiple degrees in astro navigation to even open the programme? Would someone educated all the way up to CSE Home Economics and O Level grade U in Physics be able to drive it? It has slowly dawned upon me how important all this stuff is in getting the best from my gear but a little knowledge is a dangerous thing and all that.

And if like me you realise you just typed some unnecessary, sarcastic and judgemental stuff on a bass forum then time for me to do the self examination.

Being sensible too, none of this matters. If you like Trace Elliot and one of the reasons is their gear seems louder you won't be disappointed. If you're irritated by other people liking something when their reasoning appears flawed then you have the opportunity for some self examination and character improvement. Everybody wins

The biggest issue is actually low ceilings in pubs. Because of the height of the bed I have to stand on a chair to use the pedals. Old coaching inns with low beans are particularly problematic.

Completely agree. Audacity. I use it every day. Brilliant tool. Copy and paste track, increase pitch by 100%, boost mids with eq tool and roll off the top. Suddenly all you hear is the bass! Loop and slow down awkward parts, save just those parts to mp3 if you want to practise away from pc, record yourself playing along simultaneously... it's indispensable.

Very much a work in progress still. Great fun trying different combinations. The possibilities are apparently endless. I'm currently trying three different auto wah/envelopes to decide which one does what I'm after. Although actually the options on the B3 are coming out best so all three may all be gone soon. The Markbass and American Sound pedals also do very similar things so I may end up with one or other rather than both. The little graphic is perfect so that stays. It plays nicely with the Valeton octave to get my preferred synthy sound. When I get my tri parallel mixer I'll probably get a second graphic so one can live with the octave in its own loop and the other can work independently. The frequency choices are bang on, and it takes up no space

Sounds like a punchy little stack. Is it a good deal? I'm not qualified to say. The market is weird right now.

I totally agree with all the stuff about preconceptions. However I didn't know about TE Watts when I first thought 'my God this is loud' nor did all the musicians I'd play with who also were amazed at the volume levels achieved by such a tiny amp. It was decades later I discovered the existence of this concept.

Total convert to Ashdown over here. If and when my class D needs change or money and GAS happen together I shall most definitely follow the advice of those who have contributed to this thread. We have the perfect blend of cloth, eared, fan boy and nerd tendencies. All bases covered.

Also it's a lottery putting a different speaker into a cab. I like you don't understand the science but am happy to believe those that do. Each speaker needs a different amount of air or something. I have got lucky swapping out a knackered speaker for one of a different make and power rating but I'm aware it may not have been all that efficient. Good luck however you decide to play it.

I have the twin or bi-amped Trace head which has built in high and low pass filters and individual volume controls for each amp. This is sheer, utter joy. The higher frequencies go to the 2X10 and the lower to the 15". Because the 15 is rated at 600 watts and the 2X10 isn't as much. Also the 2X10 has a horn. The lesser cab with its horn never sees the big fat bottom end while the more capable cab gets it all. Get a nice sound and tweaking to suit your tastes becomes one knob for top and one for bottom. I love it. Not much use to the op, sorry, just love talking about Trace Elliot.

It will be awesome. I used two ny151 cabs under an orange terror and kept getting told to turn down even when it was as quiet as it would go. Thunderous response it was thunderous. I also used the two 15s under an old Trace Elliot and oh my what a sound I'm not trying to convince you, but if it's the 450w it will keep up with a heavy drummer no problem.

Well yes. Until I went out and gigged a TE 130 watt combo I had no idea how unbelievably loud TE watts were. Nobody in fact could believe the wattage I regularly had to 'prove' it by showing the sticker on the back. Most musicians I worked with assumed it was a mistake by whoever wrote it out. But before I owned it I had no opinion on the subject so you are correct. I certainly didn't read about the phenomenon on the Internet because there was no such thing back then. Just to reassure everyone we do know a watt is just a watt. Saying Trace Elliot Watts was a way to express the incredible difference in output their gear appeared to have.

As far as the topic is concerned lots of similarities with what others have posted. The absolutely bolted on guaranteed standards for me are Superstition Play That Funky Music Proud Mary Valerie Sweet Child O' Mine Summer Of 69

Result!

Trace Elliot is magic. That's the scientific answer. It can be proven with a magic detector, or Magector™. Here my Magector™ measuring bar is bent to 82° by the sheer force of an AH500X GP11 running at only half volume. And I was never closer than 30 feet from the amp at all times. The bass wasn't even turned up that much. The magic field was so strong during this test that you can clearly see where my white sleeved shirt turned entirely into a two tone blue denim overall. It had to be buried in a lead lined box until the magic levels (magevels) reach a safe and above all wearable state. To put this into context here is a Magector™ measuring bar following 2 hours exposure to a Penn & Teller live show. The Magector™ was never more than 8 feet from the stage and yet only a 15° bend was detected. Now I respect Phil and his decibels, of course I do, but I think the pictures speak for themselves here.

We still have a hardware store where you can buy screws and bolts individually! In a brown paper bag! Sometimes living in the past is quite handy

Aha! Involuntary ambiguity! Passing to my friend

Just a quick thank you to everyone, I'm passing on the ideas.

Just to say I joined the club recently, Line 6 Relay G75 to be precise. Not stood that far away so latency hasn't been an issue but it was a joy A) to have no electric shocks and B) to be able to wander round and hear myself in context during the soundcheck. Oh and it all worked, at both gigs, one outside in a beer garden the other in a busy pub. So far I'm a happy wireless user. Just need a pouch to attach to my strap for the transmitter, preferably one that doesn't cost a fortune and I'm all set. Oh and a second transmitter for my second bass. Oh and a second pouch for the second transmitter. Oh and a couple of locking cables with right angled jacks. Oh and to overcome my disorganised laziness and learn about setting up and using different scenes for different basses. Oh and to stop always wanting more.

No medium sized pub gigs, vocal pa. She wants to use for home, rehearsal, and gig

some beautiful kit there

I hinted at a healthy budget based purely on guesswork. Tested the waters by sending her a link to the Barefaced site. While her eyes didn't exactly roll back in her head there was a definite sense of surprise at the prices. I think the deciding factor will be size and weight.