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Welcome aboard. Get yourself across to the Amps section & you'll find lots of advice to suit your budget. If you're looking for lightweight & quality then there's plenty to be had from the likes of MarkBass, Genz Benz, TC Electronic & many others. Have fun!

Beaten to the Baby Blue. A fellow bassist from 5 or so years ago said it was the best combo he'd played thru in a studio. I was tempted too til I got the MB.

I was about to post this topic too. It's really a list of music radar readers favourite band's bassists rather than best bassists if you ask me.

Sorry, I never read everything correctly in previous posts & never made myself clear on what I actually meant (I'm good at doing that! ). What I had meant was in relation to talking about a scale I haven't heard anyone say "it's in the key of Gb or A#", I didn't mean as written on score (that tends to keep all notes written as # or b & not mix them).

Funny thing theory. Just when you think you have it sussed, more theories come along! I guess that's why it's called theory. Incedently I've never known Db, D#, Gb, G# or A# to be in any scales other than in humour situations.

[quote name='ahpook' post='962500' date='Sep 20 2010, 06:18 PM']don't use the word 'retard' - it's not nice. use a grown-up british word like 'shithead' or 'f**kwit"[/quote] The correct phrase for those types is Mong (or Mongs if there is more than one).

Queen, Simple Minds, U2, Marillion, Prince, RHCP, Sugar Cubes,Bob Marley, Guns n Roses. Surely these aren't forgettable bands?

Why not use your 2x10 sat on top of your 4x10? This would pull the full power from your amp and increase the speaker height, meaning you'd hear yourself clearer as well.

If that doesn't work then maybe a booster pedal would be your answer.

Too far away for me to make, but would love to be there. Have it in Perth!

I can only reiterate what's been said, don't set up the music stand & play by ear. If you lose where you are then look at another band member for what chord/note they're playing (stop looking at the drummer for help ). Learning how to utilise ghost/dead notes, harmonics & slides (and sometimes rests) can become useful in those situations where you go "Oh no, what comes next". The only time I use score is to learn a song to start with & only ever use a chord chart live when playing guitar (but I try not to if I know the song). Go & have some fun, it's better than standing reading at a gig.

I really want one of these. I was hoping to get one when it came out, but nowadays I'm short of pennies I'll save & maybe get one in a few mumphs.

No points for guessing what pedal I'm gonna suggest. There's many good pedals out there, depends on how much you wanna spend.

What's the mod to the EP-2?

It isn't just about how many watts goes into a cab, it's about how much air is being moved. 500 watts moving 2 4x10 cabs is gonna move just short of twice as much air as 500 watts going into 1 4x10 thus being a whole load louder & retain the sound that you would expect to get from your existing rig. The old "full output from the head into one cab will give you max volume" is a myth. If you put 2 8 ohm 4x10 cabs on your amp (getting about 300w out your head), it would more than likely be louder than the full whack into one 2 ohm 4x10 because you're moving a larger mass of air with the extra speakers. Hope this helps.

From the sound of what you're looking for, it might be what you're after. You can take a CV or click from your drum machine to sync it up & the envelope control will allow the sound to go from short ckicky staccato to reverse sounding notes & everything in-between. It also has stereo outputs which you might find useful. Teaming it up with any of the moog pedals or any other pedal with CV out will allow for further experimenting & weird/wonderful sounds, but isn't a must need for good results.

Very good Q. You could rewire a 4x10 to run at 2 ohms.

have a look at getting a MarkBass LMII & a decent seperate cab all s/h, should come at @ budget.

Depends on what you want the pedal to do & the type of music you play. I think it's a brilliant pedal & have a review of it with sound clips in the reviews section on here (I'd link, but it's a pain to do on the phone). Drummers can have trouble trying to keep tempo with it but if they play to a click then you can send a pulse into the tap tempo in from the click. I have the footswitch in the tap tempo but often take an out from the mf-101 into the rate for some strange effects as it starts fast & slows down. I don't use the sequencer side of it as much as it was meant for & find I use it as a flashy eq with a wobble on it & often use the B channel for the lfo effect & sometimes just as an overdrive. If you wanna know more about it, let me know.

Well Nigel, are you gonna be doing some improvising at the next gig? Just a total random bass solo in the middle of a ballad perhaps???

[quote name='cocco' post='949348' date='Sep 8 2010, 12:34 PM']I am also not a fan of bass players who whibble around the fret board. Keep it simple. If it ain't broke don't fix it. An old lecturer of mine had a theory that an audience member will hear the bass line they want to hear no matter what it is you play so you might aswell stick to root notes. But then again he wore a tweed jacket with elbow patches and ridiculous dahli inspired waist coats.[/quote] I take it your old lecturer knew not much about bass or music? I agree that most of the audience wont be able to identify the bassline, but I think they'd know something was wrong if you just played root notes for "Hit me with your rhythm stick" or anything else that was bassline driven.

My answer was in regards to a live situation & does depend on the song & how things are going, it's a feeling thing. When a song is being improvised, the bass could be improvising on many roles... It could be a dynamics thing where the improvisation is to play less or even stop completely & do incidentals (normally found during a later verse, bridge or chorus), it could be how the bassline actually goes in the song that has parts improvised or it could be doing a solo. If done right it sounds good. The only recordings that I can think of that are on the web to compare would be here... [url="http://www.myspace.com/jellyrollmusic"]http://www.myspace.com/jellyrollmusic[/url] Compare All The Rushes & Rushes, both the same song but played slightly differently to suit the set we was playing at the time.

Our (BigRoom) songs have a structure that we tend to stick to but often have fully improvised parts in a set chord sequence. We could play the songs the same every time, but we think that's a bit clinical sounding for our style of music. Improv isn't restricted to jazz & we even did it in our rock band (Frigorifico).