NancyJohnson

Limited. They're there for vocal mixes and will mic the bass drum and snare/hats. Generally, you would just go with your own backline and just do the levels amoingst yourselves.

In answer to your questions: 1) Sound guys will take a feed off anything with an XLR output. I found it rare that they'll mic up a cabinet. 2) Headroom. I used to play in a very noisy punk band, sound guys encouraged us to keep stage volumes down and let the PA and monitors do the job; it was impossible. You're in a constant battle hearing everyone over the drums. If you're happy with your tone, stick with what you have and just use the volume control on the amp. I would say that it would be prudent to consider buying something like a Sansamp BDDI, just to have it in your arsenal. There's an inevitability that at some point you'll be gear sharing and you'll be warned not to change any of the settings. At least you can just bung the BDDI into an effects return and send an XLR signal to FoH. Hope this helps.

This is my idea of what hell would be like. I got to about 30 seconds.

Subject matter does meander off and back onto subject. I think we're a little more loose than the folks on Talkbass.

From memory, I've done one gig sans amp/rig, a situation enforced due to the headliners deciding they didn't want us lowly support bands using their gear, so I put a Sansamp BDDI through the PA. I'm sure we'd have been fine if we'd all been on in-ears or if there'd been proper monitors, but there wasn't and it was awful. Horrific really.

I appreciate the rack set up and it's inhernet adapability - I sold all mine here in favour for something more powerful and considerabkly more lightweight. I was just tired of lugging a 30lb suitcase around, hence the Darkglass.

Morning C-19 buddies. Over the years I've had so many amps I've lost count. From those early days of no name things (that smelt like a cross between a militar establishment and Scalextric when they got hot), through Carlsboro, Orange, a Selmer TnB 50, Ashdown, SWR, Trace, right through to my current Darkglass AO900. Big rigs, small rigs and all (at the time) perfectly fit for purpose. Now then. You know, every amplification set up I've had is missing two crucial things. Every single amplifier. I had a brief discussion with one of the guys at Darkglass about this and he did say that the company hadn't actually given any thought to these, but he thought they were decent suggestions, so who knows? 1) A series power output on the amp, 240v and/or 9v, so you don't need an additional power supply to run an effects board. Any time I've used a bit of outboard shaping (Sansamp/dUg/tuner), I've tended to simply dial in my tone and go the whole gig with that (and yes, I do appreciate people do change their tone song to song); the unit then sits on top of my amp out of harms way rather than being trodden on my overenthusiastic singers. I owned an old effects board until about a year ago, that was powered initially by a daisychained 9v loom, then a single Speakon power cable. 2) Given the size of tuners nowadays, how about a decent, always on, onboard tuner? I've not opened up the AO900 (or any of my other amps) so I'm unaware of what's inside or how full the case is, but given the size of headstock tuners or even the those little Korg Pitchblack things, would it be easyish to incorporate a LED display into the top of the head and have stompbox innards elsewhere? That's it...

Forking hell. Fortune Drive gave me goosepimples. That is sooooo good. (Reaches for Spotify)

Strange juxtaposition. When I saw that, I immediately thought of this:

I never tire of this band, I saw them live locally a few times. So here's my next hour. It's all instrumental, the songs were all numbers (hence the set numbers), then they put something out that was called something like Smooth Seas do not Great Sailors Make (or something). I don't actually know what category they fall into.

I wondered why my hair was standing up. Off to inject some bleach. Might be back later.

It always make me laugh the amount of things that suit peoples requirements...maybe it's just my shovel sized hands, but all these questions kind of kill me, 'What's the nut width/neck radius/neck profile/fingerboard material, body material?' It's a nonsense. We've already proved at two recent bashes that in blind tests players can't tell the difference between any basses or even pick their own out in a shootout (sorry, @prowla). I've played hundreds of basses over the last three decades and all that's really important is the constituant elements that contribute the to overall plays like buttah experience; strings, plectrums, low action, adjustability and whether I actually like what the forking thing looks like. Back on track, I didn't have an issue with the 4003 at all, it was just a bit odd the very first time I picked it up after it was delivered, but thereafter I wasn't going, 'Oh boo hoo, why doesn't this feel like anything else I've got.'

This morning I'm going for Garden Of Earthly Delights; an XTC Celebration from Futureman Records. I'm not a big fan of these tribute packages, but this is rather jolly and nice. 49 tracks in FLAC format for $10.00. Can't go wrong. https://futuremanrecords.bandcamp.com/album/garden-of-earthly-delights-an-xtc-celebration

Just in answer to the neck profile thing, a few years back I owned a 4003; gotta say while I didn't mind the neck as such, but there was very little (if at all) tapering in its entire length...pretty much the same from the nut up to the dusty end.

I only knew ABC in Addlestone. There used to be Adam Music on Station Path...you know where the the footpath goes under the railway line? It was just there. Tiny little place.

I owned one of these with gold hardware...three pickups, green flame. Purchased new from ABC Music in Addlestone, Surrey. I reckon it was 1978/79, more likely 1978. Always had a soft spot for the PE range.

Does this count? John East stacked knobbage.

My wife just listened to that and said it sounded like rubber bands on a cardboard box. Haha. Ponk!

Shouldn't that be 'clank, clank'?

At last years SE Bash, during a conversation with @cetera and Mr Reddick, I coined the term Ponk with relation to how some old basses sounded when committed to tape. Not wishing it to be too detrimental or derisive against early 60s Jazz basses (et al), the recording below dropped into my feed earlier. While I have no issue with the tone in context, if nothing else, to my ears, it's ponky.

I own an Epiphone Phantomatic, like this one. I'd done a few mods, Dunlop Straploks and updated the machines to Sperzel Locking. Really didn't like the stock pickups - tonally too muchy - so swapped these out and after a couple of ins and outs I settled for a pair of Warman HBAP90s (humbucker sized P90s). I know Josi and these were stupid cheap, something like £40 a pair, if that. I suspect that at some point I'll pick up a MusicMan St Vincent HH:

G&L SB1

Blimey. It's almost like someone playing who's never played before.

I think we need a Basschat Ikea Hacks thread in the off topic as well.

All solved. Considering the complexity of the issue, we seemed to get it sorted. Turns out a ground wire had come off one of the pickups. I mean, you pay thousands for a bass, soldering fails...sigh.