molan

I've tried quite a few Octave pedals and settled on the Aggie a while ago. I've found it tracks better than a lot of others I've used and it's the only one in confident using live. Have you had a look at the various settings on the Aguilar website? I pretty much copied one of those and found it works really well. I think I have more or less each control set around 1 o'clock.

I've owned a Zon and used it as my main gigging bass for ages. It never sounded like any other graphite neck bass I've played and definitely more organic sounding than my old Status and the pair of Modulus basses I ownd at the same time. I like both the US and the Far Eastern ones but build times can be quite long for each and the US custom builds have become quite high priced now if you add flashy tops. Great instruments though

Definitely start with those mids. If it's booming at you then lose a little bass and tweak the mids on the combo (rather than on the East). Low mids are the place to start but maybe some higher mids too if you're struggling to hear ourself. A second 2x10 might be the answer but I'd work on the amp tone controls first. Might be worth considering an Auralex, or similar, isolation platform to stop the low end booming through the floor.

Under good old 'invitation to treat' legal rulings I don't think a shop has to sell at a price that's displayed so, if I'm correct, he could have refused your 'offer to buy' at the displayed price

Maltings in Farnham might be your sort of place Clarky https://farnhammaltings.com/events/ Global Cafe, South Street and Sub 89/The Bowery in Reading might suit as well http://www.risc.org.uk/globalcafe http://www.readingarts.com/whatson/ http://www.sub89.com/events/

I went to the CMA Songwriter night on Friday and and really enjoyed it. It was hosted by Bob DiPiero who's written hits for loads of top country singers and who had lots of tales about strange ways initial thoughts had come together for songs he'd written. Amazing to think that people with great voices like Brett James don't release anything themselves and just write songs for others (like Martina McBride who was on stage as well). Martina was excellent, as ever, and it was interesting to hear her singing with just an acoustic guitar backing. Striking Matches were an absolute revelation - beautiful, seemingly effortless, harmonies and both of them were really good, fun to watch, guitarists. They've been on Grand Ole Opry over 20 times already and haven't even recorded an album yet! I'd definitely go to something like this again. I did fancy going to one of he main stage concerts but I really dislike the enormo-dome type venues unless I'm lucky enough to get exceptionally good seats so I gave those a miss.

I use one for rehearsing and had to turn it down & cut bass last night at a fairly loud rehearsal. I do find it works best with the funky MarkStand to keep it on the ground but pointing up at me. I find raising it completely off the floor can make it sound quite middley and sometimes a bit thin. I've also bypassed the tweeter and feed the full range signal into the 12" speaker which, for me, smooths the sound out a little.

I have both Mono and Protec bags and marginally prefer the Protec for everyday use. I do have a nasty habit of sticking too much stuff in the nice large pockets though! My real favourite is the inCase but I have a feeling these are discontinued now. It's the closest thug I've come across to a true hybrid and the only one I might trust to take on a plane. Mine never leaves the house though because it is heavier than either a Mono or Protec

[quote name='Handwired' timestamp='1394665707' post='2393956'] Agreed, but do this whilst playing with your band as some of the the subtleties and [size=4][color=#222222][font=Arial]nuances you're dialing in may well dissapear once you play with the rest of the guys.[/font][/color][/size] [/quote] Totally agree. I took a batch of presets for an RH450 from the recommended ones on TalkBass and painstakingly tweaked them to get what I thought was three perfect tones for my band. Took it out on a gig and every one of them absolutely sucked in a live band situation. Really put me off the whole idea of infinitely variable tone tweaking options. Definitely worth trying to get a simple start point (or points given you have 3 pre-sets) and make small adjustments (with a patient band) at a loud rehearsal so you know how it's going to work in a live mix

[quote name='BigRedX' timestamp='1394581459' post='2393085'] Is it just me, do do his guitars look far better than the basses he's currently making? [/quote] I think it may be just you - his recent bass creations have seen his order book backed up until the end of next year. He literally can't keep up with demand because some of his more recent designs have excited players all over the world!

There's another very special one coming soon but it's under wraps for a while. . .

[quote name='BigRedX' timestamp='1394398796' post='2391052'] But it's been on at least twice previously and I'm sure it will be on at least a couple more times this year. [/quote] As per BBC policy on much of iPlayer these days its one of those that is only available for limited periods after each broadcast

[quote name='JTUK' timestamp='1394354441' post='2390487'] Didn't realise they had so many hits...and a much overlooked band. They sounded like a real handful live and I liked it when Roger Taylor said he thought Queen were as good when they supported them. Very very much doubt it... [/quote] I can't imagine Queen living with Mott in their heyday. Mott were great live and, at that time Queen were all a bit po-faced and dull.

[quote name='bonnp' timestamp='1394396874' post='2391021'] hope there is a repeat of this? or bbc iplayer, ian hunter was on jools holland new year couple of years ago and was mint [/quote] It's on iPlayer for one week only http://www.bbc.co.uk/iplayer/bigscreen/tv/episode/b01r3pmc/The_Ballad_of_Mott_the_Hoople

[quote name='BetaFunk' timestamp='1394371209' post='2390726'] Me too. My favourites were the Feelgoods, Eddie & The Hot Rods and Ducks Deluxe. Bees Make Honey were also one the best on the London pub circuit. It was great time to be around London for that sort of music. [/quote] Never saw Bees Make Honey. Eddie & the Hot Rods at the Marquee in '78 was a great gig. The place was absolutely rammed, the hottest I've ever been at a gig - came out and my shirt was literally drenched with sweat

http://www.bbc.co.uk/programmes/b01r6x99 Watched this last night and realised I think I saw just about every single band on the show live! I moved to London in '78 and spent many a night out on the pub circuit. In fact it was seeing some of these bands in previous years that was a major influence in going to Uni in London instead of Oxford or Bristol. Graham Parker was my personal favourite, such a cracking live band but most of the bands on the programme were great to see in little London pubs and clubs

[quote name='Musicman20' timestamp='1394367414' post='2390668'] I realise there are specialists out there who manage a brand in the UK, but some distributors are basically just another bill to pay and a middleman. The store has to make profit, the distributor has to make profit, and the manufacturer has to obviously make profit. Some distributors will be brilliant, some will just store and sell. [/quote] Based on personal experience I think if there wasn't a distributor for Mesa then their cabs wouldn't be available in the UK at all

[quote name='Musicman20' timestamp='1394187231' post='2388818'] If Mesa had normal prices over here, I'd try a Walkabout. It's not that I won't spend that cash, its that I see the distributor taking A MASSIVE chunk for no apparent reason. I think over the next 10 years or so, as the international market continues to grow, and the web continues to dominate sales, then we will see an end to the middleman distribution. I don't actually think having a 'distributor' makes it easier. There should just have an approved service for faults, but one that doesn't need to distribute. Basically, everyone takes a bite of the cherry and we foot the bill. Annoying. [/quote] I must admit that, as someone who sees the retail side of the business, I'm seeing the reverse of your suggested trend Gareth. More manufacturing brands are realising that they can be much more effective by concentrating on R&D, quality control and production rather than the monster hassles of distribution and handling retailers or, even more problematical, direct customers. The cost of managing internal customer services and distribution can be huge and the time drain on senior people can cause all sorts of problems. One of the biggest areas a distributor makes a difference is in storage of large stocks of cabs. The size and weight of most cab ranges mean they have to be land or sea transported to make any kind of financial sense. Buying one or two cabs direct from an overseas manufacturer means the relative cost of shipping compared to product value is huge. This means a retailer who's buying direct has to make large bulk orders. From initial order to delivery can take 12 weeks - I've tested this more than once and this is a fairly average schedule if the products are built to order (remembering that most specialist bass equipment manufacturers do not hold large stocks and make most things from scratch as they are ordered). For a retailer this means laying out large sums in advance of delivery, long wait times for products and then problems trying to find storage space. The net effect often means that product range availability is cut right back or even discontinued completely. My personal example would be Carvin - they make some really nice bass cabs but do not operate a European distributor model. Because shipping costs are so high compared to product value they are virtually unobtainable at a price even remotely close to their US equivalents. Our store doesn't even take orders on them because we can't justify the UK prices A quality distributor can make a massive difference in terms of product availability and after sales service. My current favourite example is MSL who handle MarkBass. Their customer service is exemplary, product knowledge is great and delivery times are very fast. Warranty claims are handled without question and with total efficiency. Synergy, who handle Phil Jones and Sandberg, are right up there as well and the new arrangement from Barnes & Mullins with Aguilar is proving to be top notch as well. Without these guys in the chain you'd see massive issues with product availability and delivery times and warranty claims would be both delayed and patchier in service and quality. Unsurprisingly they need to earn some money in order to offer this kind of service but in many cases their outlay is huge in order to hold decent stocks (this is much more of an issue with US made products because many Euro brands have a central storage hub with land delivery access). Without distributors I'd see a lot of products disappearing completely from many UK retailers and, bizarrely, prices for some might rise due to scarcity and costs of individual shipping. Of course, not all distributors are as good as others. Rather than getting rid of them I'd much prefer to see the better ones taking over more stock lines

I've found there's a few amps that sound great in a store or home environment but don't quite cut it live. Personally I've found the Streamliner, some of the Shuttle range and TC Electronics suffer from this. All of them seem to suck the life out of a bass at volume with a live band. I think some of this is definitely a lack of mids in he core tone. At home I don't want the mids slapping me in the face and they can sound harsh and abrasive so a mid-cut seems to smooth things over and creates a smoother tone. However, get in front of a loud band and, for me, it's all about those mids. Getting them right makes so much difference to my personal enjoyment of live gigging and that's the reason I've moved GB and TC gear so quickly because I really didn't enjoy using them live

I guess my limit would be £2K for an amp (excluding cabs).