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+1 That’s partly what I was inferring to when I said “to make things easier”. I was trying to learn Superfresh by Jamiroquai, but without the low B, my only option is to use the octaver & it’s probably trickier to play on a 4 like that.

IIRC, Billy Sheehan said something along the lines of "I'm still learning the 4 string & once I've mastered it, then I'll add another string". The benefit of a 5 string is having those 5 lower semitones (though you could buy an octaver & have 12 lower semitones ). If the songs you play call for the lower (or of you string it E-C, higher) notes, then defo go for it. If your playing style means the extra string will make things easier, then again, go for it. If you want a 5 string just for the sake of having a 5 string, stop. Have a think & work out why you're going for a 5 string & not a 4 or 6. I've played a 4 string for 30+ years & never needed more. That doesn't stop me wanting a 5 string fretless though.

You'll need to have very good hearing & still need to know what you're doing. The point of compression is to not hear what it's doing. When it comes to relying on your ears, there's a chance that you could either over compressing or not do much at all. There's also the chance you'll get it right, but you might never know. I'm not saying you should only buy a compressor with a meter, but a meter is better than using your ears unless you know exactly what you're listening for. I think (& I might be wrong here) that most pedal compressors have parameters pre determined to a degree to make it harder to over/under compress than what a compressor with metering would allow. Here's a useful link: http://web.archive.org/web/20130215154741/http://blog.basschat.co.uk/setting-up-a-compressor/ Reading the OP's post again though, he might be best suited to a 1 or 2 knob compressor.

Aye, okay. The thing with a compressor is that you're using it to level out your sound (to bring up the quieter notes & trim the louder ones down a bit) & that's not something that's instantly noticeable to most people just with the ears. If you have a meter showing you where the note db is, then you can make the appropriate adjustments to stop notes spiking above/below that level. There's a whole thread on here that's dedicated to compressors & how they work. I'd suggest searching for it, it's a good read & very informative.

Ideally, a compressor should have some sort of meter so you can gauge what it's doing, otherwise you're just twiddling knobs & pretending you know what you're doing. Though there's a lot of compressors without meters that do a decent job, but I think the user may have to guestimate things.

Sounds like a good reason to take up double thumbing.

I find them an exceptional band. I know a lot of folk don't like JK, but he's a great front man & a great vocalist too. The bassline in this is fantabulous...

I'm not going to derail the thread & I can get where you're coming from, but the main cause of pubs & clubs not wanting to pay much for bands is because of the twazzicks that either play for very little or even pay to play. I had the same issue with cakes. People saying "I can get a wedding cake for less than £200 elsewhere". I'd tell them to go elsewhere as I was already struggling to make a profit. Numpties making "wedding cakes" & charging peanuts. Though the cakes spoke for themselves.

But then I get to hear of musicians that I never would have. I do think that musicians should get paid more, but then it's musicians who are to blame for that. My guitarist keeps commenting about getting signed & raking in the dough, but there's 3 main stopping points. 1- We play 60s & 70s inspired rock music (I suggested the band name be "Grandad's Grooves"), 2- We're all old (apart from the drummer, he's 24 but looks like 42) & 3- the singist isn't even mediocre. I can't see us getting out the jamming room, let alone gigging. My point being that musicians can make money if they're creative, make music that people want to listen to & are actually good. They do need to put in a lot of effort & this could even require moving to somewhere where they can get heard (AKA not Perth), but the recorded music is the advertising to get the punters to spend money on you.

That's easy. Bladerunner by Vangelis. Probably one of my fave albums too.

I've never understood "burst" finishes either. I know some people like them. I don't hate them, but I'd never choose to have a burst finish & would even contemplate a refinish in a solid colour.

When I had mine, I cut a bit of perspex to size & drilled a couple of holes for screws to go through. Only took it out a couple of times to take to rehearsal, as the cab there was decent, but the amp was crap.

Is the 102 a Traveller or Standard? Any of the TC RH heads would fit on a vertical Traveller, any TC head would fit on the Standard. Another suggestion is to look at the Markbass amps. I got a great sound with the LMII.

Same here & agreed, but I can't help but think that he could do with turning up the bass a bit. I've never listened to the original, but if the drums are a bass lacking as they are in that, then hopefully there's a sub synth a bit later on the track (I only got about 1:30 in).

+1 to the above. If the pedal will stick without removing anything, that's a bonus.

That would be BIG drivers! @ 79" and 178"

The Moog LPF buzzed & hummed like a beach with even just one other pedal on the Godlyke. Putting it on a separate PSU, the other 5 pedals all powered from the Godlyke without any hum at all. I've got another board now (though I still have 2 of the original pedals) & all the pedals run with no noise. So like dannybuoy says, it could just be one of those pedals causing the noise. You might be the lucky one & all 4 of your pedals don't like being on a daisy.

I have a Godlyke 1.7a wart with a daisy. Runs all my pedals without issue. I used to have a Moog LPF that hated sharing power, so it got its own wart. I don’t think the Godlyke warts are available any more, but the OneSpot is very similar.

Oddly enough, yes.

Another option is to get a Revolut card. Me & the Mrs got Revolut for going on holiday, as it's an app & card that works just like a cash card, but there's no fees for exchange from £ to $ (or any currency). You can transfer money to people by just using the app.

If it's that basic, then an iMac from the past 10 or so years would be fine. You'd probably still be able to use plug ins too. My old iMac from 2007 would have done that without issue. I'd get the best spec'd mac you can afford.

You could run the 2 amps, putting the 4 ohm cab on the LM250. You could even take the fx send from the LMIII to the LM250 (maybe straight into the fx return on it).

It depends on what you’re wanting to play. But learn both. No point on focusing on finger style first, if most of the songs you want to play use a plectrum (& vice versa). I started with mostly plectrum playing, but 34 years on & I’m mostly using my fingers, though there’s still a few songs I use a plectrum for.

Well done chaps. A great effort from all too. Bring on this month's pic.

Well after the 2 & a bit years of having the KA6, it does everything I wanted & more. To top it off, it's built like a tank. The Scarlet 2i2 is a good contender too, as is Audient.