NHM

I'm sure you'll enjoy the GHS, they are great strings. Possibly a little more tension than the Fenders?

I've got Precision Flats on my Musicmaster and they sound great (Curtis Novak pup fitted). My band plays country/Motown.. But not sure if they are any better than Fender flats and I like the green winding colour so perhaps I prefer the fenders? .

I thought they were as good if not better than the Warwick Blacks. Having bought some blacks to 'improve' the sound ('cos they cost more), the reds went back on!

The Rockbass exam series is good as it has a play=along CD and you can pitch your reading ability against a standard. Also the Hal Leonard 'Big Band Play-along' series is fun, again sheet music with a play-along CD.

Just brought a v3 500 combo this week - and it is fab! But did some recording this afternoon with the DI, and the Master Level changes the DI out. This seems a bit weird = what's the logic to this? I tried coming out for the effects loop, but the Master Level controls this too...

I've got a Spector EuroLX4 (a carbon-reinforced neck), and the sound reminds me of King Wenceslas - deep and crisp and even. What's not to like?

... will pack vest next time.

Unique double - got sunburn and froze to death at the same time playing at a BBQ in Canterbury yesterday.

Thanks everyone for your comments. So, following my original question, to summarize: It is better to have your input gain as high as possible and keep your output gain as low as possible (rather than the other way round). This is particularly true for a valve pre-amp where you might be looking to spank the valve for some breakup. To monitor headroom it would be ideal if all amps had a clipping light post input gain and also a clipping light post eq / contour controls. 2 or 3 light meters would be better than single clipping lights to help monitor levels while playing. Your ears are a good final checking device, but not everyone has great hearing and normally you're monitoring in a very noisy environment - so some technical support would help. Any amp manufacturers / techies out there to comment?

that's really clear, thanks very much Douglas (now my friend!).

Thanks for the replies. So it looks as though setting a correct input level is down to listening / trial and error if there isn't a meter or clipping light (so, most amps I've come across). I don't understand why a fairly critical electronic interface between guitar and amp is so arbitrary. If you inadvertently over-load the signal I assume you could damage the amp (as well as spoil your guitar's natural sound); if you under-load, then you're wasting the potential power of the amp (although this probably isn't critical). Do the electronics of an amp perform differently if you under-load the input signal?

Does anyone have a 'top tip' for setting the right input gain on their amp to maximise efficiency without under- or over-loading the signal? Amps don't seem to come with 'clipping lights' any more, so how can you tell that you're not overloading other than by listening for distortion (i.e. trial and error)?

Had our first outdoor gig of the year last night in balmy Canterbury! The landlord insisted as he had set up an outdoor bbq. We froze our nuts off and I'm not referring to string slots! Fortunately, it was 'rain stopped play' three-quarters of the way through the second set and an early escape.

Played at the Little Albion, Broadstairs yesterday early evening. My first time there. Lovely pub, v welcoming, great audience, good beer, and a repeat booking to boot. What's not to like! Also, still light (just) driving home on the A299. The summer's acomin' in.

it has no dead spots

Thanks for all these comments, this is a brilliant website for advice. So it looks like not such a good idea to try any mods and stick with the status quo (oh, err, those lc Va cadences!).

I own a GK MB150E-lll combo, and it is a fantastic amp with a perfect balance between practicality and sound. I have been considering purchasing the extension cab to get a little more volume and headroom. However, I'm reluctant to have to carry more gear around as I can manage the amp, my bass and a cable bag in 'one trip' - OK, may be a bit lazy, but gigging has to be as practical as possible - these are nimble times. So as an alternative I'm considering upgrading the speaker in the MB to a 4 Ohm 200W to maximise the amp's power output? Has anyone any experience of this? Will adding a new speaker with extra wattage capacity make any meaningful difference to loudness / clarity in a sealed cabinet?

Played at The Dolphin in Canterbury last night, we play Americana covers plus 25% original material. V enthusiastic audience, one lady in particular loudly requesting a Beatles song in between each number. Fortunately we didn't cave in, which oddly seemed to be what she wanted. ;;; the rich tapestry of life on a Saturday night.

I use a Tesco recyclable canvas bag for my cables, 4 way, pedal, stand and water bottle. Still looks like new after three years. cool as nuts or what! no-one's ever tried to nick it - odd that?

feet got stuck to the floor in the 2nd set, nye, what do you expect?

Thanks - I'll try some rounds, see how they compare.

I've always been happy with the sound of flats - as they make the bass sound like a double bass, which it fine for me. Just wondered though if flats were the norm, or whether there's the same range of types of string used on fretless as on fretted.

Hi there What are the best type of strings for a fretless? I've always assumed flats, but woke in a sweat the other night thinking I might be wrong.

BB404 -a crackin' good bass