bertbass

[color=#282828][font=helvetica, arial, sans-serif]I've just received an item from Thomann that is faultless.[/font][/color]

+1 to what he just said.

Bought a used Rick in the mid 70s, a 4001. Loved the sound, loved the shape and didn't even mind the fireglow finish. The neck however, was the baseball bat version and quite difficult to play, also, there was never enough play in the bridge to get the bottom E in tune. One of the truss rods broke and when I replaced it with a new one the fret board started separating from the neck and then someone nicked it. Oh well. The sound was stunning though. Through a roost 100w valve head and a pair of Vox T60s and fitted with wire wound strings and both pickups on, Wow! The treble hit you between the eyes and the bass rolled out of the cabinets, across the floor and up the wall at the back. I loved it. When the Roost broke I used a 200w GK head and the same cabinets but the sound had gone, it just sounded flat and lifeless. Mr Foxen you're right, a Rick and valves is the way to go. Only my opinion of course.

Nice amp. Used mine with two 4x12s. I linked the channels and it was seriously good. I did notice that as the valves got older, the amp got quieter.

£1326.59p here, http://www.thomann.de/gb/fender_bassman_100t.htm

Saw the Ox in 69, 76 and 90 something. Brilliant!!!

The inuke actually only puts out about 200w a side. I measured the voltage when I had one. 28v flat out. The Peavey IPR 1600 is seriously good. http://www.peavey.com/products/proaudio/poweramps/ipr/index.cfm/item/116949/IPR%26trade%3B%26nbsp%3B1600.html Or the IPR3000 if you want more power.

We have a sound limiter clause in our contract but still turn up and find one installed that the venue failed to mention.

Played at a place once where the bingo caller was tripping the noise limiters. This was about 15 years ago and the've still got it.

We were the test band for a new sound limiter in a pub that we played in once. On being told that one was being fitted and tested on the night that we were to play the gig we said forget the gig, we don't play with them on but were talked into it. Not only was it set to 85db, but the power could only be reset from behind the bar, no switching on again after a preset time. Another gig we played had a mic installed actually in the stage and the power switched off as you walked across it. We were told, no one plugs into those sockets, use the one over there. So we did other wise we'd of been off home.

Those 200w are music power watts. RMS watts are 100w into 4 ohms and 70w into 8ohms.

Had a a pair of T60 cabs, similar size but a 15" and a 12" in each. The speakers had been changed by a previous owner to cheap EVs, Stage Sound if I remember correctly and with a Roost 100w valve head they sounded incredible especially with the 4001 I had at the time. The roost developed a fault so I used a GK200w head instead but it lost the immense sound with the GK, just sounded flat and lifeless which bought on a severe case of GAS. The new owner of the cabs was equally impressed with them though. I did get the Roost back eventually but that went as well. I've always regretted that.

Correct me if I'm wrong, but I can't see those leds lighting with 10K resistors. 470 ohm would be my choice of resistor.

Radar Love.

Switching transmitters on and off only takes a second and is not really any hassle.

I use the G30 and use multiple transmitters. As long as only the bass you're using has its transmitter switched on there is no problem as its one transmitter to one receiver. If you forget to switch the transmitter off when you change basses then you'll get nothing which is a bit confusing for a few seconds. The same with all wireless systems on the same frequency IME.

Indeed it was.

I bought a brand new one from a well known seller and had the same problem, totally dead. I sent it back with no problems.

I have to admit that I'm using elastic bands at the moment.

I did consider the Stageclix before I bought the g30 and while it ticked all the boxes the thing that put me off was that the receiver is also the charger for the transmitter and my receiver is permanently mounted on my pedal board and only appears at gigs. This meant that I could only charge the transmitter when the pedal board was on stage and plugged in to the mains. Not an ideal situation for me.

ALL OR NOTHING ALL THE DAY & ALL OF THE NIGHT ANGEL OF THE MORNING ANY WAY THAT YOU WANT ME BACK IN THE U.S.S.R. BEND ME SHAPE ME BITS & PIECES BORIS THE SPIDER BORN TO BE WILD BRINGING ON BACK THE GOOD TIMES BUILD ME UP BUTTERCUP CHERRY CHERRY DA DOO RON RON DAYDREAM BELIEVER DAYS DELILAH DIAMONDS DO WAH DIDDY DIDDY DO YOU LOVE ME? DO YOU WANNA DANCE? EIGHT DAYS A WEEK FIRE BRIGADE FLOWERS IN THE RAIN FOR YOUR LOVE FUN, FUN, FUN GET OFF MY CLOUD GET READY GIMME, GIMME GOOD LOVING GIMME SOME LOVING GLAD ALL OVER HAND BAGS AND GLAD RAGS HARD DAY’S NIGHT HAVE YOU EVER LOVED SOMEBODY HE AIN’T HEAVY, HE’S MY BROTHER HERE COMES MY BABY HERE COMES THE SUN HI HO SILVER LINING HOLD TIGHT HUNGRY FOR LOVE HUSH I'LL NEVER GET OVER YOU I’M WITH YOU I CAN HEAR THE GRASS GROW I CAN SEE FOR MILES I CAN’T EXPLAIN I CAN’T GET NO SATISFACTION I SAW HER STANDING THERE I WANNA BE YOUR MAN I WANNA HOLD YOUR HAND I WANT DOESN’T GET IF YOU GOTTA MAKE A FOOL OF SOMEBODY I’M A BELIEVER IN THE MIDNIGHT HOUR IT AIN’T NOTHING BUT A HOUSE PARTY JUMPING JACK FLASH KEEP ON RUNNING LOVE HURTS LOVE POTION NO 9 THE LAST TIME LOVE IS ALL AROUND LOVING THINGS MONY MONY MORNING DEW MUSTANG SALLY NEEDLES AND PINS NEWYORK MINING DISASTER 1941 NIGHTS IN WHITE SATIN OB LA DI OB LA DA OUT OF TIME PLEASE, PLEASE ME POISON IVY PAINT IT BLACK QUICK JOEY SMALL ROUTE 66 RUBY TUESDAY RUNAWAY SHAKING ALL OVER SHA, LA, LA, LA, LEE SIMON SAYS SORROW SPIRIT IN THE SKY SUGAR SUGAR SURFIN’ USA SUMMER IN THE CITY SUBSTITUTE SWEETS FOR MY SWEETS THE GAME OF LOVE THE KIDS ARE ALL RIGHT THE LETTER THE PRICE OF LOVE THE YOUNG ONES TIRED OF WAITING FOR YOU TOBACCO ROAD TWIST & SHOUT TWISTING THE NIGHT AWAY WALK DON’T RUN WATCHA GONNA DO 'BOUT IT WHEN YOU WALK IN THE ROOM WHITE ROOM WILD THING WITH A GIRL LIKE YOU YOU REALLY GO ME YOU’VE GOT TO HIDE YOUR LOVE AWAY YUMMY, YUMMY, YUMMY They all seem to go down well. We don't play them all every gig obviously.

They're right, if it's an injury at work then 'work' is responsible. See the doc and get a diagnosis but if it is tennis elbow it will just get better on its own. You could also be offered the injection in the elbow, now that's something to look forward too. Good luck.

They're the same a Schallers and they're easy to convert. Once you've taken one apart you see what I mean. Pain in the bum having to do it though. If we stopped being wrong handed then we'd be the same as every one else and not special anymore.

I use one of those myself, great mixer. How many channels are you going to use as standard? If there are enough spare channels try what the guitarist wants and just plug his leads into the mic channels and turn the channel gains down 'til you're not overloading the channel, check it with the PFL button and if the guitar signal is still overloading the input with the gain right down you'll have to use the line inputs which means jacks. If you're not overloading the channel then you're not hurting it. Keyboards into the stereo channels with jacks is no problem. I feed a, ipod and minidisc player through mine. D.I. boxes etc, try them in the mic channels, they should be OK but again if they overload the mic channel with the gain right down just use the line input. You have to be a bit careful with the compressors as well or you'll get feedback although it quickly comes on and then just as quickly disappears. Hope this helps and good luck.

They all noticed. The sudden lack of bass, me rushing across the stage to pick it back up, plugging it back in again and trying to fix it back on the strap, failing and just sticking it in my pocket. At least we all laughed about it, including the audience, I did feel foolish.