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But then the bassline to Billie Jean was directly inspired by I Can't Go For That, which itself is every bit as a unique bassline, & although a well known song to the older generation, just not as famous a song as Billie Jean. I wonder if Hall & Oates had written Billie jean & MJ wrote I Can't Go For That, which of the basslines would be the most memorable?

[quote name='Prime_BASS' timestamp='1375334638' post='2159835'] To me the lack of EQ, or a visible gain stage makes it a power amp, simple as that. [/quote] You might just have hit the nail on it's head. So it could make it a good amp for those wanting to use their own preamp. I like my EQ section, so I'll stick with my Markbass.

Your title is misleading to the question. "Memorable" isn't the word you're looking for. I think a lot of the "best" basslines that are in the top whatevers are there because most of the songs are very well known pop songs. A good example would be how many jazz songs make it into these lists? The Waking by Kurt Elling has a tremendous bassline that if a band like Queen, Muse or someone else famous had written it, it would then be a "top" bassline. It's not just Jazz, you could take any non pop genre & find some killer basslines that put most of the pop top down the overall list. Funk is a great example of cool & groovy basslines. Not that many folk listen to actual funk though. The closest most seem to get to funk is RHCP, & whilst they're funky, they're not funk. So what makes a "memorable" bassline? One in a popular song.

Do the needful. Get a bigger board & a Moog!

There's also [sfx] for those tiny enclosures. Silentfly on here is the man to see about them.

[quote name='Jack Cahalane' timestamp='1375181820' post='2157634'] That's not what I was thinking, sure it explains it to you, but not as simply as the post in this topic [/quote] Good point.

[quote name='Jack Cahalane' timestamp='1375135221' post='2157228'] Something like this should be stickied, I spent ages trying to figure out what I needed until someone on here explained it as simply as this. Really helpful if you haven't got a clue like me [/quote] Funny enough, in the "Amps & Cabs" section, we have this... http://basschat.co.uk/topic/135-impedance-etc/ HTH.

You can get patch pedals that allow you to turn on/off multiple pedals at once. Something like this... http://www.thomann.de/gb/carl_martin_octaswitch_mkii.htm

pedalboards usually come with an average to poor dirt sound. Buy a dedicated dirt & octave & use the board for the other fx.

+1. I'm a Fuzz into Wah man myself. The only thing that's after my Wah is Chorus. I had a good play about with my board & tried umpteen different combinations, including dirt > octave > wah > dirt & finally settled on my original setup. Looper off > wah > chorus Looper on > octave > Murf Left - mid & high frequencies (dirt > wah > chorus) Murf Right - 110hz & lower clean sub channel > summed back together > amp. Makes some very nice synth sounds.

I had a supermarket's own brand PSU which I used on my FX. Hummed like a fridge full of wasps, bought a decent PSU & no noise. So if you can try a different PSU, do so. It may be picking up interference. Oh, also worth checking how many mA the PSU puts out & how many the Zoom requires. Make sure the PSU supplies more than the pedal needs. Edit: I doubt the Zoom would need anywhere near 3A, more likely to be @ 300 mA, tops.

I use my MB 2x10 combo at home. It has a rotary dial thing labelled "Master". If I keep this turned almost fully anticlockwise, it's perfect for use at home.* You can get a 2nd hand MB combo for @ £500 (give or take £100). If you want the Markbass sound, then saving your pennies is the best option. Failing that, I'd go with what Lozz has advised. *Sorry about my sense of humour.

I've sussed what's wrong with the drummer! He's being forced to listen to & play along with this (It's the same tempo)... http://www.youtube.com/watch?v=9hWAU-lJFaM

I really don't get what folk hear in that kind of bass tone? IMO it lacks bass & ends up sounding like a gui**r. But I suppose if we all liked the same sounds then music would get boring.

Yes. But it's gotta be flatwounds. Fresh roundwound strings have too much zing & no variation in sound.

I'd consider a couple of good 2x10 or 2x12 cabs for the bigger venues. Could probably replace your 604s with them.

My thoughts exactly. I wouldn't look to buy any of those basses at those prices when there is better for less & if I was to spend £10k+ on a bass, it would most likely be a Ritter.

+1 to all the above. Try it. Try all the pedals in different orders & see what You like. I've just had a shuffle & put a distortion before the octave (after another topic on here). The only thing it does is give me a longer sustain on the wet -1 oct (I don't have any dry with the -1). So now I'm going distortion & octaver (in loop so can be switched on together) > Bass Murf (which is getting used as a drive pedal) > filter > chorus. Gonna try this at rehearsal tonight.

[quote name='Bill Fitzmaurice' timestamp='1374494704' post='2149288'] Foam will absorb midrange and high frequency reflections within the room, but it will do nothing to stop low frequencies passing through walls, ceilings and floors. Gramma pads don't do anything to stop low frequency passage. The only thing that stops low frequencies is mass, a lot of it. [/quote] What if he's not a Catholic?

Foam pads on the walls might help reduce the vibrations as well as a floating floor (Gramma pad, small drum riser, etc).

I don't think there's anywhere in Scotland that stock GK. best options there would be to either find a local member on here that has GK (I believe there's a couple) & see if they'll let you try or order from somewhere that will let you return it if you don't like (Thomann?). Kennys Music stock MarkBass & Guitar Guitar stock Aguilar, so worth giving them both a try. I've got a MarkBass 2x10 combo & very happy with it, but I think I would have been equally as happy with the MB 112 or 115. As long as it has enough volume to cope (which the 210 has). Whatever you choose, if you're adding a 2nd cab, get another the same. Have fun.

I'd agree with you.... You need to rest your head. Pete is on the money with what he said. Simple way if stopping a signal return the wrong way is to put a resistor on each signal that's being summed (merged) so the signal an only go one way.

See! There's no right or wrong answer. I have my signal going octaver, dirt, filter, chorus. If you're using the octaver on 100% wet & it's after the dirt, then the dirt is going to have little to no effect. Whereas if it's got some dry signal coming through, then you're gonna have dirt an octave above a clean sub. I usually go 100% wet, so dirt after suits my sound. I find that if I put the Wah before it, it doesn't do what "I" want it to do. If you know what kind of sound you want, then we can punt you in the right direction, but it's way more fun doing things yourself & playing with your setup. & rememember, you decide what sounds right by using your ears. Have fun!

[quote name='Mottlefeeder' timestamp='1374186175' post='2146359'] I have to agree with StingrayPete1977. If you want it light for carrying, and you want it to fit into a smallish car boot, a separate head and cab is a better option. It will probably weigh slightly more than the equivalent combo, but you can lift each part separately, and you can fit them into the car boot in ways that a combo doesn't. You also have more options when you buy, and if you buy a pair of cabs, you have further options of one for rehearsals and two for the gig, etc. Finally, if any part of your kit fails, you only have to borrow / hire a replacement for the broken bit. You have had comment about BF (Barefaced) cabs, but there is also BFM (Bill Fitzmaurice) cabs. <http://billfitzmaurice.net/ > They are lightweight, and loud, and come up for sale from time to time. I'm about 30 miles down the road from you, so if you want to check out a pair of BFM Jack 10s, let me know. David [/quote] That's good advice to check, but very subjective to the combo choice. The Markbass 2x10 combo is the same size as the 2x10 std cab & the head can be removed (though you need to get a top cover to put on it). There's quite a few good combos like this these days (not just Markbass). I've heard good things about the BFM cabs, definitely worth a try out.

I hear octaver, dirt & chorus. I get a similar "big" sound by putting the chorus on a slow deep setting. Oh, & tell your guitarists not to use chorus at the same time or it'll turn to mud.