Sean

That's a bargain.

I agree. I'd be looking for Ashdown, Hartke and Trace Elliot used gear. Good kit, repairable (if it goes wrong) and you'll get all your money back selling it on in the future. £250 should get you something robust and very giggable that will last years. £250 shipped for a new amp is £50 of VAT, £50 of retail/distribution costs, shipping to you. It's not a lot of product. It's pennies components plus labour and some profit.

Great band. Have a look at R30 Live. It's so uplifting. I was lucky enough to see them twice on that tour and it was those two shows that converted me.

I don't fully understand the question. I'm sure I'm not alone. I worked in a FTSE100 corporate for 30 years and "impacts on" is like corporate-speak. I don't get it but I am "on the spectrum" as they like to say. "Around" seems to have replaced most other prepositions too and has made it very difficult to understand a lot of what's being said. Imagine you were posting 20 years ago, what would the post say? Thanks for your understanding.

This has to be worth a go. Thank you.

I bought a D'addario .135 and a .145 recently. This is for my 34" Yam BBP35. I used a set of Legacy 45, 65, 85, 105 and added the .135 and it's really good but it got me thinking about how I could refine it more. One band I play in does a lot of songs in drop B and I'm on the B string much more than say, what I was in a function band playing a 5 string where there's songs in Eb, the odd low D and hammering a low C makes the crescendo more dramatic. My SRMS805 35.5" B is fab but I'd like to have a similar punch with the Yam. What did you put the 42/55/75/100/135 on?

This is a revelation for me, thanks for posting. What bass have you put these on? What's the scale? Thanks.

And for those that need a reminder, the whole thing looks like this...

I've been giving the Mesa Walkabout pots a bit of a once over with contact cleaner and just checking everything generally today. I took a few shots to share as it's not often you see Mesa workmanship. I've had this a long time. I bought it from Molan probably about 08-09. It's ridiculously loud in its combo form for reasons I don't quite understand. It's paid its dues and is one of those bits of kit that would get replaced if something happened to it.

Good luck. Glad to have you on BC.

Is it a Euro LX 5? 35"?

Spector Euro LX 4 2008. Trans blue. Bought new from Red Dog Music in Edinburgh at a time when Spector lost UK distribution. £499 delivered in a generic hard case. They were dirt cheap at the time, no one wanted them. I can't even find any trace of who bought it, where I sold it, nothing. That's the one for me. I probably sold it for a 5 string or something...

A modded 01 kicks the butt of an 02 IMO. I always found that the MM is too close to the bridge to get the 'Ray thing. Saying that, the J MM configuration is the Lakland thing.

He's not into them.

Just like on the annoying house-buying TV shows where they throw in a wildcard, I'm going to nominate an Ibanez SRMS805. I've got one with US Barts and preamp and pickups that are switchable series/parallel, single. Slim neck, 33.5-35.5 scale and the gem for me, 18mm spacing. This bass is on my A Team and is a keeper. The multiscale aspect doesn't even take any getting used to.

@Jonrh98 also be aware of the Lakland 55-01. It's exactly the same neck and body as the 55-02 except it's got 2 x soapbars. These were sold with the Bartolini MkI pups to keep the price down and to differentiate from the -02 but many owners upgraded to US Barts, Nordstrand, Aguilar etc. You don't see so many around these days but a nicely upgraded 55-01 would be a weapon at probably under a grand. And... If you want rolled edges on a bass that doesn't have them, there's at least one BC member that'll do it for the price of a coffee.

It’ll take someone who is better at explaining than me to put this into words but I start with explaining the difference between the use of Major and Minor Pentatonic scales. In my mind, this is a good place to start as people are often familiar with these. A major penta is ABC#EF#A (simplified A Ionian) and A minor penta is ACDEGA (simplified A Aeolian). If we work toward understanding how to use those differently, it can help. We can use Am Penta over A7 (D7 E7) progressions and it gives that “blues” feel. Whereas if we use Amaj Penta over the A7 (D7 E7) it gives a more “country" feel. They have to be heard in context. Hopefully someone can illustrate in clearer terms but I tend to think of them as different flavours.

Well, there’s a reason he was hired by Scott Devine and my teachers weren’t I suppose! Thank you, his style is more approachable.

And wouldn’t it have been a very different experience for us all if one of those teachers had said, “don’t worry, you’re already using one of the modes in your blues/rock/etc lines” and expanded from there? Instead of trying to get me to remember If Dora Plays Like Me All’s Lost!

I used to have one and can’t remember exactly why it didn’t work for me. Does what you’re describing mean that you have to cycle through the designated menu of patches to get back? Is there any way that you can switch easily between two patches for one song without having to cycle through the 4 or 5 that you’ve chosen? In one of my bands, I switch between clean and fuzz/chorus from verses to Choruses. Will Chris be able to do that?