pete.young

I agree with @fretmeister, just record vocals and run everything else direct into a DAW such as Reaper or Garageband, through an interface. For value it's pretty hard to beat the Behringer XM8500, these are on a par with an SM58 and 1/5th the cost. For an interface, there is a lot of second-hand choice. Focusrite and Presonus are popular.

How about an Eich 212S? https://www.eich-amps.com/212s 17.4 inches wide. 22Kg.

Thanks for fixing my typo. Are there any drive pedals with a frequency cut-off, so you only get drive on the treble frequencies? Like the OC-3/OC-5 but the other way round sort of.

Pedal with a clean blend, or an LS-2 and stick the drive pedal in one of the loops?

I have the Open Radio app on my phone which gives access to all the radio stations you could want and then more. With Android Auto I can play them in the car too.

Thank you Dood. I shall look forward to this review, even if the OP seems to have disappeared without trace!

Is there someone local to you who can fit a recone kit, including a new voice coil, to the existing driver?

I use something like this: https://www.studiospares.com/pro-neutrik-killer-watt-speaker-lead-speakon-to-mono-1-4-inch-jack-1m-25m.htm This design of 1/4 jack plug is more robust and allows the use of greater diameter cable. I think that the explanation for this might be that Ashdown has used the decals made for the CTM300 (which does have Neutrik) on the CTM100,. Maybe they ran out, or didn't bother printing separate decals for the CTM100. If you daisy-chain your VB115 with this cab, you're presenting an overall load of about 2.6 Ohms. 2/3 of the power will go to the VB115 and only 1/3 to the LB212. If you want to move more air, i'd say your best bet is to sell the VB115 and buy another LB212.

Excellent job, well done.

@scalpy are you still head of music? My children's experience of school music lessons was much more positive than many of those detailed here. All 3 went to a school with great music department and the eldest in particular revelled in it, eventually going on to study music technology at Surrey. There was a lot of hands on, and the schoool had an annual 'We've got talent' showcase for any musical acts throughout the school which provided a massive focus and peer acceptability. My own experience was also massively positive, especially in what they now call year 7. Our music teacher was inspirational, charismatic, slightly eccentric and adored by the whole school. I especially remember lessons on the double bass and the electronic music system MUSYS developed by Peter Grogono, some 50-plus-a-bit years later. This amazing man went on to be one of the most prolific composers of the 20th/21st century and possibly the greatest living English composer. Prof. Edward Cowie. At the time, we had no idea how fortunate we were to be taught by one of the greatest composers of modern times. He's pretty handy with a paintbrush too.

This guy has some interesting ideas. Don't bother with the back plate, just replace the strap with a bit of sturdy rope and make something to hang it on that fits on the top of the stand. Thinking about the one I made, I used a 2-way Hercules guitar/bass stand and removed the clamp at the top. The base is a lot more sturdy than most mike stands or cymbal stands.

I built one for a bouzouki once out of 1/4" perspex and clamped it to a mike stand with a couple of U-bolts. Weight is a lot less than a bass though. Flatback, not roundback in case you were wondering.

I depped on Eb tuba for a championship section brass band once, at a beer night. I arrived as directed about an hour before the start and was handed a pad full of music, each piece had a number, altogether about 130 pieces in numerical order. I would estimate that I'd played about 10% of them so the rest was a sight-reading job. The twist was that for beer nights, the MD didn't like any gap between the songs. No set list, and no time to put the pieces in order. So while you were playing one song, the MD signalled the number of the next song and you had to find it in the pad, while covering your part. This is fine for Soprano Cornet who usually has at least 50 bars rest, not so much for the Eb bass although there are two of you so you can take it in turns. About half way through the first set - No. 53 . Sir Duke. OMG. Interesting challenge to sightread that bass run on a tuba. At least they didn't do it Nathan-East style with each phrase in a different key. I thought I did OK and so did the other Eb, maybe he was just being polite because I wasn't asked back.

My EDB-1 preamp has a phase reversal switch, which reverses the phase of Channel 2. Since I've been using my piezo through Channel 1, this might explain why it doesn't seem to do a lot! At least thanks to this thread I have now RTFM, so I will swap over and see what happens. My iAmp Doubler has a phase control knob: "Phase Control: The Doubler features an innovative 180 degree sweep able phase control to adjust the phase between Channel 1 and Channel 2. This control only works when BOTH Channel 1 and Channel 2 inputs are being used" The moral of the story seems to be that not all phase switches or controls are the same.

Wow, THE Brian Eastwood? Great to see that he's still making awesome guitars.

One option might be to use a 'Group Bus' output on your mixer, assuming it has them, to send an input to the sub. You probably don't want to put everything through it, just bass guitar channel and maybe a bit of kick drum. Edit: After I posted this I saw that you are using a Midas MR18 so it doesn't have group buses, but @Downunderwonder suggestion of a spare aux will work just as well. My analogue Yamaha mixer has group buses so someone else reading the thread might find the idea useful. Maybe group buses have been swept away in the digital revolution, I'm still firmly stuck in the last century!

Thank you @Paddy Morris for a great explanation, I'll give it a try next time i encounter problems (which with the current band will be sooner rather than later, alas).

I have been given to understand that the phase switch is used when you have two forms of input, such as a microphone and a piezo, and you want to adjust the phase between the two signals. What effect does it have on a single input?

If you want an utlimate whaaaa sound a la Jaco you need roundwounds. People put flatwounds on to save wear on the fingerboard.

I have a 4-pot Nordstrand in one of my Bass Collections which works very well and wasn't expensive. Not sure how I'd describe sound colouring but I think the pickups have a much bigger effect on this aspect than the pre-amp does. Nordstrand has a blend pot; a volume pot with a pull-switch for active-passive; a stacked treble/bass pot; and a stacked midrange cut/boost and frequency selector. I think Bass Direct have them new, I pickup up mine second-hand on here.

The Fishman Matrix system is an expensive and very high quality system for acoustic guitar, so it's quite hard to see how running it through a budget bass guitar amp is going to make it sound any better. Rather than run it through a wedge monitor, you will get the best results by sending the signal straight to the desk , and then sending a signal back to the monitor from one of the Aux Sends on the desk.

If you have an acoustic bass with a piezo pickup and no built-in pre-amp, that is likely to require an input resistance of more than 1 MOhm. I'm not sure what the specs are for that particular Rumble, so that might be an issue. If your acoustic bass has a pre-amp, it should be fine. What electro-acoustic bass do you have? I've not used the Caline but it looks like a decent SansAmp clone for not much money. It will probably improve the sound of your bass, or at least give you more control over it. I can't find a spec for the input resistance though - this won't matter if you already have a preamp.