Dood

❤️❤️❤️❤️❤️❤️❤️ and im not even embarrassed to type that a Beautiful bass right there! Gorgeous sound! Congratulations!

Rumour has it they need to change the company to just C Electronic now.

@The59Sound Yup, this is essentially me. I have a wonderful backline that sounds amazing, but for my current gig I only run a Line6 Helix via our desk and straight to In-Ears. I don't use any cabinet simulation but I have carved my outgoing sound with drive, EQ and a bit of compression. We then tweak the EQ per venue when necessary for FOH. I totally agree that whereas some IEMs are 'good', there is nothing like running something really nice in your ears through a stereo mixed system. Rocking up to a gig with a pair of basses and a gig box is pretty nice these days and I can be as loud or as quiet as I want to be in my mix and never upset anyone My one thing I make a point of when it comes to the way in which most bands do their IEM mixes (and by that I mean on a relative budget if it's not a Pro function type rig) is that many complain of feeling disconnected from the venue and audience when using IEMs that are capable of a large amount of attenuation of the ambient room sound. Think of it this way. The singer's voice in to the mic is being thrown straight to your ear drums without any sort of air gap that you'd have on stage between speakers and head. Same for the mic'd up guitars. The keyboards too. Drums, when on a budget may not have a monitor mix that gives a bit of space either unless there are enough channels to mic and mix the whole kit. (A luxury for some) So, one of the most important aspects for me is a stereo, realistic blend of the ambient venue and stage sound in to your IEMs. For me I can balance the ambient sound with my monitor mix and it sounds way more like the sound of the band on stage. Stereo because Mono just becomes way too congested (for me anyway) with a busy band set up. Oh and your ears aren't picking up in mono lol. I actually recorded a video about the subject ages ago, but since then I have upgraded my personal kit arrangement, so I am well overdue to do another. Everyone who has tried my rig has absolutely loved it! Definitely worth looking in to that as it can be a huge help to bring life back to a mix on a budget*. *By this I mean not having access to say a digital desk with effects and EQ on each channel etc. I will however be correct as said devices aren't that expensive these days in the grand scheme of things. I may come back and edit this as I typed quickly whilst waiting to teach my next lesson!

I once spent the best part of 7 hours in The Bass Centre on Wapping High Street. I bought so much gear from there including my first set of Hartke 4.5XL cabinets, a six string fretless Status bass, one of my Tobias 6 stringers and tons of hardware including EMG pickups.

Awwwwwww!!!!!!!! Heart breaking sight I feel for you! I can only echo but also at the same time confidently report that this certainly is repairable. I have a friend in the city here who has repaired completely decapitated Gibson guitars (as mentioned above) with completely invisible joins of original headstocks. So although a painful sight, whatever has happened can be reversed. Jon I am sure will be able to respond. I know that doesn't help the initial frustration and how you are feeling but hang in there; I have a bass in my collection that I love even more after a repair!!

I’m looking at these who suggest on the webbz that they do cover for damage and loss. https://www.directcouriersolutions.com

Did we ever find a courier that does actually cover the full amount for loss and damage? Mainland shipping.

Agreed on the SPB3 QP!

Yes, 1. Tell him to put the kick through the PA thus moving the source away from your amp. 2. Gating the kick through the PA can help to cut back on the ringing. 3. Using some sort of padding in the kick drum to stop the Res head from ringing can help if he hasn't done that already. 4. Effective EQ'ing (That you can not do with the TC head and 15" speaker. Taking in to consideration 4b. The kick is tuned well.

I couldn’t comment if the speakers are all the same model, certainly the cabinet sizes differ which could lead to varying responses.

Interestingly, TC Electronic K-Cabs, Laney SL cabs and now these Orange models are all using LaVoce speakers. I liked the sound of both the Laney and the TC, so I expect I will like these when I review them next month. Not bad for the money at all!

In a word, yes. There’s modulation and EQ effects that can be applied to the octave sound, which for some reason just isn’t advertised. It’s daft they are missing a trick. i would love to demonstrate, but I’m currently being forced to sell anything I don’t essentially need. The TC’s have gone already.

Wasn't MJ influenced by this video for one of his? I forget the name of the song but I seem to recall that being mentioned in an interview. Great video though for sure G&C!

I read this hearing the voice of Hugh Laurie intermittently playing the part of 'House'. A very enjoyable read.

Yes I like these too - and my main bass has two strap buttons on it's 'bottom end' when stood upright that also act like little feet.

I foolishly bought one of these from another site advertising it as suitable for a guitar or bass. Maybe with a different brand name on it. It really is only good for a Ukelele, so I couldn't recommend this for bass: https://www.aliexpress.com/item/AROMA-AGS-08-Folding-Adjustable-Guitar-Stand-Aluminum-Alloy-A-Frame-Stand-Universal-for-Banjo-Guitar/32666319127.html

Lovely, though I would say Cm, the relative minor key due to the resolution mentioned and severe lack of an Eb major chord in the song

Graham, Lowdown has part of my answer here. Also, when you listen to the progression there is a home chord. A gravity towards a particular resolution and that is the Cm chord. In any modal progression it's about that resolution and how the progression builds the sound of that mode. So, although Ab Major does appear at the start of the progression, it's not "home". Now, if the song did indeed resolve to Ab Major then yes then we could be looking at Lydian as a mode, but the pointers of a Lydian chord progression for me aren't there, it's more the Cm vibe.

Yes and no, I'd say. The Ab chord is diatonic, but the key is Cm. So, whereas you may be playing a pattern on the bass neck that "looks Lydian" You're still actually just playing the Cm scale from Ab to Ab. Or to put it another way, the piece of music doesn't have a Lydian sound to it. (Lydian is major in character, this track is minor.) I'll also just tack on to the end of this by way of an edit, before I picked up my bass to check the key, by ear I could hear the strong pull back to a 'i' chord, in this case being the C. Lydian again would be pulling my ear back to a major chord. (Major 7 as an example)