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But the downside to standard 4x10s & 8x10s is that the drivers are on the horizontal plane next to each other & frequencies could cancel each other out, causing a narrower dispertion.

I've never has this problem. I normally just plug straight into the line in on the mac & turn feedback protection off & use my ears & eyes to balance the input.

Akai Unibass - 1 Ashdown Chorus - 1 Boss CE-2 - 1 Boss ODB-3 - 1 Boss TU2 - 1 Boxx chorus ensemble - 1 Digitech Whammy - 1 Dunlop Bass Cry Baby - 1 DHA VT2 - 2 EHX Bass Micro Synth - 2 EHX POG2 - 1 EHX Qtron+ - 2 Guyatone MD-3 delay - 1 Maxon CP9+ - 1 Moog MF-101 - 1 Moog MF-105b - 1 Sansamp Bddi - 3 Way huge swollen pickle - 1 Quick edit to say the Boss CE2 is borrowed from a friend, but on my board. I have a Zoom thing, but we'll keep that with the mandolinist!

[quote name='thisnameistaken' post='1012860' date='Nov 5 2010, 03:19 AM']You mean stacking the 2x10s on their narrow ends? Anyone ever done this and not worried a bit about how wobbly it looked?[/quote] It depends on how skinny your 2x10 (or 2x12) cabs are. TC cabs appear to be rather skinny & yet designed to stand on their end where as MarkBass cabs are almost square (there's only @ 4" difference between W, D & H). Some extra heavy duty velcro would see no movement in your cabs & amp on top & you could velcro to a Gramma Pad.

Oops, I'v read the rest of the posts & see BRX & Dan have already said what I was suggesting but in more detail! Getting gear to sync isn't hard, getting people to is the tricky bit.

I had a Zoom 708 & you could have upto 6 characters. Not the best multi FX unit tho.

I'd look to getting something like a LMII (they're now between £300-£350 s/h) & go for a couple of cheapish 2X10s (such as Ashdown MAGs) or build your own cabs.

I haven't had time to read all the 1st page, so don't know if this was suggested. Another idea to look at would be to have a cheap drum machine (or laptop) as a tempo controller that sends a click to the drummer's headphones & midi to the synths to keep all in sync & give control of the tempo controller to either the drummer or the keysman. Just another option to ponder.

Sweet. A bassist similar to myself. I don't want my bass to sound like a bass guitar either & used to play basslines on a synth, but enjoy playing strings more than hitting keys & twiddling wheels (tho that still can be fun). Looking forward to your other parts (inc the FX one).

In which case have a "Welcome back" from someone else who doesn't live in Essex (tho I've never been there).

Been answered many times. 2 2x10 8 ohm cabs will be considerably louder & better quality than 1 4x10 4 ohm. Have a look in the Impedance sticky, especially the last couple of pages.

Some classics there. I'm gonna add a couple of funky classics (just because they're full of basslines) & a piece of history. Shaft (the original of course) Run Baby Run Quest for the Holy Grail

As it's happening on more than one bass, I'd roll off a little around the 160hz & see if this takes the the boominess away. If it doesn't, then work out if it needs to be a higher frequency that you need to roll. Looking at your amp, you might need to mess about with a combination of the mid bass in it & the tone controls on your bass(es) or invest in an EQ. If this fails, just avoid playing the E string

I have the resonant filters on my Murf set to act as an EQ for the sound I want, along with the VLE & VPF filters on the amp & adjust the EQ section on the amp to suit the room along with the out volume (input gain usually doesn't get touched).

Oooh! I like that pedal just off to the top right of your board, next to the OC-2. Ped would be the chap to talk to about the VB-99 (not sure who else on here has one). Just been reading your "gear" thread, niice. But last month you said... [quote]I'm happy with everything on the board and can't see me changing much in the near future...[/quote] I suppose that's GAS for you!

One combo & used for everything. Practice, small - medium gigs on it's own or as a monitor & DI'd to the PA at larger venues. I also have a Vox Venue 30 bass combo on loan that never gets used for much other than home use if the MB combo is in the car. I need to give it back as vie had it for about 5 years!

[quote name='lojo' post='1004737' date='Oct 29 2010, 08:43 AM']A teenage band I support just did there first gig, rage against the machine, some ACDC, that sort of thing It was truly really good, if you closed your eyes, you would have not known how young they where Yes, they have been fully supported with the use of a rehearsal room each week and borrowing plenty of gear Point is, no reading music, just MP3s and hours in front of YouTube at the weekends by all the lads Now the issue is, do we encourage them as they are, because they really have something as a unit? Or Tell them, well thats great, but really you should forget metal and whats cool in your pier group and go an learn real music theory (which is not cool to them) Either way, we could be right or wrong in the future[/quote] You should do both, encourage them as they are & let them know how great they sound & point out that as a band. Theory would allow them to write songs (even theory in it's most basic form). You could point out that the bands that they cover use theory to write their songs. When did theory become uncool?

I've read the OP & a couple of answers, skipped all the pages to this one & read it so I don't know if this has been said (I'll get a read at work if I'm not busy). My opinion is that whilst you don't need to be able to read, it can come in useful to help understand music itself. Getting knowledge in theory (with or without being able to read score) is one of the most valuable assets you can have for songwriting. Simple things like knowing time signatures, what the scale is you're playing & what key the song you're writing is in make it so much easier to write. I could write you a song without picking up an instrument & have done in the past (such as on long train journeys & whether they're good or not is another Q). In both my bands, all the members can read music & understand theory (how much is debatable ) & we never read or write music when composing together but rely on theory to help understand what each other is doing.

There is Burn Place in Dingwall, just north of Inverness. For made up, I'd stay in Flat 9v, the Ritter Royal Apartments, Active Cort, Mesaboog Way, SE18 4SS

I plug my semi acoustic g***ar into my combo regularly & it sounds pretty good to me (for a bass combo) & sometimes I'll put vocals thru it too (via mixer).

[quote name='Protium' post='1001162' date='Oct 26 2010, 02:36 PM']Any thing wot [s]Toys R Us[/s] MarkBass make[/quote] Is this because you don't like the yellow, don't like the brand, just having a dig back at those whom dissed Ashdown & the VU meter or is there something in particular that you find useless about their amps? So far the only thing I've found useless on it is the XLR in. I've found use for every other function on it. Oh, another thing I found useless on the cobra 90 was the "compressor" button. It did sod all! I tried my hardest to hear any difference & got other folk to see if they could, but nothing.

I'd start with a multi effects pedal. As you're probably gonna want to use it at gigs, I'd look at the Roland ME-50b or similar. This will give you a selection of effects to mess with & see what you're going to use before deciding on changing to individual pedals or sticking with the multi route.

I think the most useless thing I've had on an amp is a 1 band parametric EQ on a carlsberg cobra 90. What the heck's that all about?

The only thing I don't like about fenders (& similar basses) is the top horn. Looks like some short fat dumpy cyst. I like things with a bit more style (tho that's down to taste) like non fender based shapes by Mayones, Shuker, Ritter, Overwater, Esh, Warwick. etc.

I like to play 8 hours a day, the wife likes me to avoid it at all costs. We comprimise & I get to play for an hour every 8 days.