BigRedX

My understanding is that Orvilles are essentially Gibsons made in Japan. So the equivalent of the MIJ/CIJ Fender as opposed to a Squier.

To me that doesn't imply that the treble controls on the amp are actually on maximum. Besides as I said it might actually be upper mids rather than treble that the OP needs to achieve the sound he is after. Back to the original problem. While removing the tone control completely from you bass guitar's electrics will have an effect, unless there was something wrong with them before, the difference is IME minimal. If you have already maxed out the treble everywhere else in the signal path then I would suggest that your choice of bass and/or amp & speakers is wrong for the sound that you are after.

Where? I've just re-read the thread and apart mentioning treble boost the OP doesn't say that the treble on the amp is maxed out so he could always turn it up some more. Besides he may find that the missing frequencies are actually in the upper mids than in the treble.

How many plys are there in a 1/64" plywood sheet?

Why not simply turn up the upper mids and treble on your amp?

Last time I played at the Hairy Dog the bass rig was an old Trace Elliot rig with either a 6x10 or 8x10 cab. Since as I said previously the FoH sound is provided by the PA it hardly matters anyway.

IME if you are using a venue provided backline for the bass it is there for on-stage monitoring only as you will also be going through the PA, so for FoH it doesn't matter.

Are there any EB0 or EB3 copies that don't have a bolt-on neck? IMO the set-neck construction of the Gibson versions is an important feature.

If the battery is powering the active electronics is switched on by plugging in the bass, it makes zero difference whether or not they are connected to the output of the bass. Switching between active and passive only changes the signal path, the pre-amp is still on whether or not the signal is passing through it. In theory it would be possible to also make the active/passive switch also turn off the battery, but I don't know of any manufacturers that implement this.

Well Bandcamp seems rather slow this morning so hopefully that's a sign of people going on the listen and buy.

Being a massive fan of D'Addario strings for the guitar I bought a set when I went back to playing mostly bass, and was completely underwhelmed by them. These days I use Warwick Black label, which for me are a good compromise between longevity and price.

Exactly, and while a single 24 hour period isn't going to eat into their profits it could well help artists - especially as now gigging isn't possible. So lets get some links up so we can be checking out who we'd like to buy some new music from tomorrow. Here are mine: Díck Venom & The Terrortones Hurtsfall and the currently appropriately named In Isolation Looking forward to hearing some new music from the rest of you.

If you want to support your favourite artists on Bandcamp during the current situation, consider buying something from them on Friday 20th when Bandcamp will be giving 100% of the sales revenue to the artists and not taking their usual share. This runs from midnight to midnight Pacific Time (that's from 7.00am Friday 20th to 7.00am Saturday 21st GMT). Any Basschatters with music on Bandcamp please post your links here.

One of our big gigs for later this year has been put on hold.

Saturday's gig has been cancelled. Being a semi-private party there was a possibility that it would still go ahead, but really it was inevitable that it would gat cancelled. I have some fairly high-profile gigs later in the year. It will be interesting to see if they happen.

I used to have a Peavey Bassfex and the associated footswitch. IIRC when used with the Peavey 8-pin cable the footswitch would draw power from the Bassfex which made the display work and you got 2-way communication between the two so that any changes made on the Bassfex itself would be displayed on the footswitch if applicable (turning effects modules off and on etc.). With a normal MIDI cable the footswitch needed a separate PSU and communication was only one way.

I've just had a look at the products in question on the Peavey web site and now I'm a bit confused. Looking at the photos the amp and footswitch appear to connect using Peavey's propriety 8-pin DIN system, however the drawing of the back panel in the manual shows a standard 5-pin MIDI socket and is labelled as such in the explanation. What sockets do your amp and footswitch have and what cable are you using to connect them?

Does it matter? Is the sound of a particular amp/cab combination so completely awesome that nothing else will ever match let alone beat it? Besides amps and cabs only have a characteristic sound because either the technology used and/or the price point they are sold at doesn't allow then to be transparent/flat. The only thing that matters is do you like the sound of the Sim? Most of the time I just use an EQ module and don't bother with an amp or cab sim at all. That's what sounds good to me.

Had a gig in the middle of April cancelled. The one next Saturday is still on. Go figure (as they say)...

Are there MIDI CCs for Punch and Bright in the amp's specifications?

Do you have the MIDI implementation charts for the two devices?

Plus making absolutely zero attempt to disguise the fact that the body is made of (at least) 3 pieces of completely mismatched wood. Even if they couldn't be bothered to pick a better example of f the production line for the photograph, 10 minutes in Photoshop would have sorted this out. Doesn't anyone in the Fender marketing department care any more?

[/thread]

I notice that they haven't bothered applying the same finish to the neck.

So if you were why would you consider one of these over a proper Fender, or one of the established and respected copyists such as Sandberg, Maruszczyk, G&L, etc.