la bam

BB800 round, try gain on 4 o'clock. Depth on 2 o'clock, contour on 3 o'clock. (That's o'clock position not number). The contour clockwise smooths everything out and the gain adds character and drive.

This is why our business never does the black friday or indeed any other discounted offer sale, even though we could very easily. All you end up doing is upsetting customers who have paid full price, and it causes no end of headaches. It can even lose you business with returns and cancellations.

Me too. I've done my last 3 gigs (over 200 crowd) in our queen tribute (with pa support) through my laney 4x10 with the output on my quilter bb800 showing less than 40w.

You'll pick up a used combo - Trace elliot or Ashdown Mag - even an ABM for under £200.

Go 1u more and get a used QSC. Different class in sound and reliability. If you're lucky you'll pick one up for around £100. Failing that the original behringer ep range (copies of the qsc) are pretty indestructible. Both are heavy.

Great amps. Take some time to work all the buttons and eq out. But the extra mid sliders are fantastic. Really being it alive. As with all ashdowns, forget what they sound like on their own, they sound great in the mix.

I really think 300w minimum as a rough guide. I'd genuinely get an ashdown abm combo for second hand money and put wheels on it. Failing that splash a tiny bit more and a rumble 300 v3. As others have said, you'll be lucky to get loud and light for £300. Sounds to me like your keys player is drowning you out on stage. Work together to find frequencies you can both be heard in. Failing that, roll your bass back and add in mids.

Showcase yourself by playing the type of songs the band your after joining plays (do a little research). How can they argue with that?

Love my G&L l100. Those kilotons look great too.

Good luck Lozz. Everything will work out one way or another. Keep positive and look on the positive future things it can bring.

Buy once, buy right. IMO you need at least a 300w head for gigging, especially when starting out. The ashdowns will blow the tc bam out of the water in both volume and quality. You dont want to be buying then find it's really underpowered for your band. Without getting too boring its 300 solid state watts vs the reduced class d watts of the bam. There really wouldnt be any comparison. Any ashdown mag or abm combo would be perfect.

...and the Barefaced 2x12 and 4x10 exist.

You see, I read that as - before the lows fail to keep up with the mids on the 4x10 - stating the sc is much superior. Yep, I'm sure they can justify it scientifically, but no way, no way on a larger stage is it anywhere near a good 4x10 in volume, sound or presence.

I know you said talk you out of it, but if it helps, I struggled with the super compact. The claims on the website that it's as loud as a good 4x10 are absolute bobbins. Great cabs if you're ok with the volume.

I think Ashdown are really on to something with the RMs. They've 2 stellar amps now in the ABM IV and the new RM models.

I made one of those! It's great until you forget you're wearing it and wonder why everyone is looking at you weirdly!

Just an update on this. We did a bit of recording a year ago in our guitarists house - just a one take then mixed. No frills etc. Using a vt bass rack preamp and rotosound 77 flat wounds. You can hear the bass clearly if you put the headphones on, obviously not as much without. For a £200 bass I think its recorded well. https://www.queenesque.co.uk/queen-tribute-music

I did the same years ago. The album was so built up and hyped up, I thought it was a guaranteed future favourite. It wasnt. I think the problem is we forget how diverse bass playing can be. From jazz, Motown, soul, funk, groove, rock, pop, fun, serious, synth, backing roles, solo roles, lead roles, accompaniment etc. The problem with this album in particular is its classed as just a 'bass' classic, without taking into account the style of the music. Which is correct, but not for everyone.

Excuse the poor phone edit, but you want something like this to keep the 2 paths separate.

The problem may be that your SEND at the bottom is also then going back to the main send, so the main send is receiving both lines. You can do it so the main out is on the top line, then another out runs off the bottom line for a send. Ie so the lines are parallel, but 2 definitely separate outs. You need to bring the line linking back upto the main out down to create 2 separate paths.

Laney sent me some fuses very quickly when I enquired. I didnt need them, I just wanted spares, but they were very good customer service wise. Contact them direct by email. They will also tell you which fuses they are.

It's a work of art. Built to outlast us all. Brilliant amp.

Some registrars are good. Some think they are high and mighty. At the end of the day one reads some writing out and the other writes something down. None of which justifies their attitude of being almighty to me.

I thought it was just me! Where does all that dust come from?!

I've carried pretty much 2 of everything since returning to bass a few years ago, with a built in contingency of also being able to cope if something goes down with anything I've just taken one of. So... x2 basses. x2 amps. x2 speaker cabs (bass cab and monitor). x2 kettle leads. x2 speakons. x2 power adaptors for stomp. x2 xlrs. x2 power adaptors for wireless. x2 lots of guitar cables. x2 lots of spare cables. x2 multi tools (screwdrivers, allen keys, scissors etc). All fits nicely in 2 bass cases. The only change I've made now is bringing just the one amp, but the bass feed goes from the stomp to pa, so can be fed back through my monitor if needed. If all that goes down, I can plug straight into monitor (cheap alto ts110a) and mix as it has 2 channels.