Monckyman

I`ve just mailed a lampy I work with loads, he sorted out a very lightweight printed backdrop for a band I work with, packs away to nothing light enough to hang from mic stands if need be. I think backdrops are a great thing, and leave the audience with no doubts about who they are watching.They also provide a band identity and make you stand out from the others on the circuit. Will let you know if he gets back to me. MM

sh*t.

Most castor sets have two wheels with brakes/locks on, stops the cab wandering about. My ashdown 410 had castors directly bolted to it, through the bottom, not too neatly either. The ampeg 410 I now have already had bolt holes for castors so I just bolted some on using them. Two have brakes on. It does mean the bottom two drivers have to come out. Alternatively.. make a wheel board that fits EXACTLY underneath your cab,use the proper Tees bolt fittings and once bolted on use an angle grinder to cut the bolts flush. Cut out the corners where the plastic corner protectors on your cab will go so it sits directly on the ply with no gap. Paint it black and use a couple of heavy duty velcro strips to keep it there. Bit more work but... No holes in your boutique box innit? If you sell the cab, keep the board, will prob fit most 410s whatever. MM

All the above is good stuff about settings etc, but as I understand it, you asked basically whether to set the comp so it`s on all the time, or only works if you tan it. As a bassist, I like a little bit of compression all the time, so that means a lower threshold and a slightly lower ratio. I like the sound of a compressed bass. As a sound engineer I would use compression to prevent dynamic spiking and to even out an inconsistent signal, so I`d be looking to let most of the signal through without compression with a higher threshold, but a higher ratio to pull it down a fair bit when needed. The slower attack setting mentioned above for pick use etc are all relevant. For fingers I would use a fairly fast attack. As an engineer I tend to think that if I can hear compression, I`ve used too much. As a bassist I like to hear it as part of the sound. So it`s up to you and what you decide you like but bear in mind it`s really easy to choke down all your dynamics, with clumsy compression. MM

How about detuning to D on a spare bass? Would sound better than the high D and no tab translations.

Welcome in. I just restarted after 13 years, so I know how you feel about the physical side of it. No stamina in the old fingers and forearms. Can`t hold a pick, prefer fingers. Odd innit? Best fun I`ve had in a decade though!

He`s a gent, he lives in a great city. He likes Ampeg stuff. Now the important bit,he doesn`t mess you about and pays on the dot. Ta Wooks.

Wooks, is your new avatar Rover from the Prisoner or one of Ganymedes moons?

Erm, lots of root notes and three slow triplets, you`re done. I used to fall asleep playin this. Sounds better on a fretless. I hope you do better.

Ta for the replies gents, I wasn`t expecting a scarcity.. I wonder if anyone has notailed a precision pickguard?

Can`t you use a mute for the Brass stuff?

I have 7 but 3 really belong to my daughter since I gave them to her, (although I snook one back). Two of the remaining four are in bits, with one not at all likely to be useful even when complete.(1964 Teisco Telebass). The other will be a Jazz bodied P/J, hopefully adding a different flavour to the remaining two Jazzes, which to be honest, I do need, as there are about 6 detuned songs in the set, and I can`t be arsed de+re-tuning 12 times while the drummer stares at me with his sticks in the air. Only one of them cost a bit. the others are good quality(I think) Bitsas for a specific job of work. And a double bass. And two accoustic guitars And erm, the Uke. Those Mustangs though..Hmmmmmmmm

Ello I`m thinking of sticking a Pbass pickup in a jazz project I`ve got going on, but I`m unsure about the pickguard. Are P/J guards available or do you need to mod a jazz one? Would it be a good idea to use the p/guard screwed to the bass as a template for any routing out I need to do? Ta, MM

Buy cheaper basses and spend the difference on a Bike. Obviously

Been reading this with interest as I needed the very same thing. I suspect a lot of us don`t want to lug our larger cabinets about, and a small cab+lightweight head makes sense. I went at it from a different angle. I had a [url="http://shop.ebay.co.uk/i.html?_from=R40&_trksid=m570&_nkw=Rel+q50"]Rel Q50[/url] that I had rescued from a skip. The amp was shot. I asked about for a 12" driver on this forum and MB1 stepped forward with a Delta 12A at a very reasonable price so I stuck it in. Thanks MB1 for the Bonus Castors which are already bolted to my Ampeg 410! Tried it with my LM II and wow. I was and am very pleased with the results, a warm tight sound with plenty of low end and a suprising amount of volume. I`d be tempted to use this in small pubs/bars etc if it was a folk/pop type gig. Looks like this so far, I`ll prob trim it up with carpet grill and corners to look pretty later. You can find the Rels on ebay quite often, very well made cabs, really solid. As it`s a sealed cab/infinite baffle I`m toying with fitting a Maplins port to it and have a play with it just out of curiosity, if it fails I`ll block it off again. MM

Always wanted a White bottomed Strathead meself. Iconic innit.