dave_bass5

If you like the Orange head, what about this https://orangeamps.com/little-bass-thing/

Fair enough, as i said, i could be wrong. I do know a few shops offer 30 day money back guarantee (Thomanns/G4M/Andertons/GAK spring to mind) so i buy from those places. i wasn't really knocking BF, just pointing out that trying in a band environment for 30 days is also possible from other companies, albeit if not ordered direct. Not sure how many of us order direct from the manufactures these days unless its high end, more bespoke gear.

I would have thought, but I’m no expert, that anyone selling on line has to, other than custom made gear.

One of the big selling points foe me is how easy the FX is to set up without using the software. I know visually it’s easier to use a computer but 1, i dont have one in the room where i play, and 2, i want to be sure i know where everything is when I’m at a gig etc. You can copy and paste blocks across different patches etc. It does take longer though so i can understand doing this sort of thing using the software. Really wish there was a iOS app to do this. Then life would be complete.

I gigged a LMII and SA450 for a good few years, never felt the need, or needed to cover it in a bulletproof vest. Also never had an issue seeing where the knobs are set. Surely you set and forget at sound check? I also find light behind me distracting. Just not my thing i guess.

And that’s why we can buy on line and return the item to most online shops. BF have to work within the distance selling regulations, they just make a ‘feature’ of it.

And so easy to move that to anywhere in the signal chain, or change which switch you use to implement it all.

its funny but i got the FX as a simpler version of the Stomp, i dont need the amps etc, but found it will do so much more in a live situation.

As much as i love my Stomp, im always amazed at what the FX can do (although in this case the Stomp can also do this).

Yes you can.

Back when i posted the above post i was told they were on their way to him. Seems like they weren't available until yesterday. He does now have them and says they are very impressive, other than the spatial effect, which is a gimmick (his words). He is a big fan of the Boss Katana stuff and says he can get a lot fo that vibe with these. Ill be trying them out asap.

I got a pack of these a couple of years ago. Never used them, i dont think Ive even opened the packet. Im happy to post them to you if you want them https://www.amazon.co.uk/gp/product/B0026WZB7W/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1

I got a Rumble LT 25 for Christmas as very impressed with it, especially the digital side. Quite fancy a Rumble Stage 800. That would save me needing any pedals or Helix.

They seem to be picking up a lot of good rep. I got the 800watt head from Thomanns for £450, and its become my fav head. I love it through my Berg CN212, but cant help feel i need to try one of the higher powered combos. I believe they are very light which would be great for rehearsals.

I recently got a Becos Comp, and one of the stipulations is it needs a PSU (centre neg) with a barrel length of at least 12mm (15mm ideally). I have a few of these PSU's, including a 1 Spot, but all are a bit short, and there is wobble when they are connected. If i use a splitter these seem to have a slightly longer barrel and its fine. Id prefer not to use it though (or the 1 Spot really). Could you guys maybe measure your barrels (😂) if possible, and if you do have any the right length tell me what the PSU is? This will only be used to power one pedal. Cheers.

Ive almost always used a pre amp (mostly a BDDI) in front of my amps, which i run flat. Just recently though ive 'discovered' the tone knobs do actually work on my amp, so at the moment ive managed to simplify things a lot. I too use a Rumble with mostly flat EQ, and have been using a Q/strip to just give it a bit of extra life. I prefer my GK heads without extra help though.

'Mix it Up' are looking for a new guitarist as our current guitarist is unfortunately unable to commit to gigs, due to other commitments. (We have recently already turned down 3 gigs for this year because he is away). We are: me on bass, female singer, drummer and we have just got a new keyboard player. Me and the singer live in central London, drummer lives in north London and keyboard player just off Old Street. We aren't doing it primarily to make money, but are doing paid gigs every now and then. Some social clubs, some pubs. We are in our 40's and 50's, so I guess we aren't looking for a youngster that has aspirations, although all are welcome as long as you will commit to the gigs if you accept them. We all work full time . We like to rehearse when we can, once a week max to get things tight but mostly every other week. We don't currently have much of a online presence, but this is our FB page with links to music etc https://www.facebook.com/mixitup2015/

GK MB800 gets my vote. Its very small, but very powerful. Fits in the front pocket of all my decent gig bags. I had a GK Legacy for a while, lovely head, but quite a bit larger and heavier. Wouldn't even fit in the bag i normally keep my amp (GK, or Fender)/Helix/cables etc.

This sort of thing has been a bit of a disappointment for me with the last two heads ive brought. I love my Fender Rumble, and the drive channel is very usable for me, but there is a LPF on that and it loses something in th elbow end. Same goes for the GK Legacy head i had, there was a noticeable drop in low end. I can see a reason for this, but my GK MB800 head doesn’t do it, which i why the Legacy went back.

Well i may work up to that one, but having less control over the finer aspects (which the audience will never notice anyway :-)) and just having a box that does what i want and need is going to do it for me for now. That Stella scares me, in that i would be forever tweaking it. I can see mine as just being set and forget.

Just read this in the manual DC POWER CONNECTOR - Use only good filtered power supplies, with a voltage of 9-12 VDC, with center negative polarity. Use a DC Power Plug Ø5.1/2.1mm, with a barrel longer than 12mm (15mm recommended) So i guess Mine is fine. I just need to find a PSU that has the longer barrel. All mine have shorter ones, although the splitter i have works fine. Hmmm, this means i have a spare PSU connector begging to be used now.

Just received my Comp. Frist impressions are very good. Other than the height of the knobs its actually smaller than the Spectracomp. Amazing size. I plugged in and first reaction was.....its broken. I noticed the meter was flashing and the power light was going on and off as i moved it, before anything was plugged in to it other than the power. When it was just sitting un touched it was fine. The PSU input is very wobbly, but this was with my One Spot, which has a short barrel length. The plan is to use it sitting on my amp, but this wouldn’t work as the vibration would cause noise. Using an adapter at the end of the 1Spot seems to fix this issue. Ill contact them but I think its fine. A bit worried about how long it will last, but I’m sure they know what they are doing. Using it though is a dream. I’m not sure if its just that i understand more what the knobs do, Becos has some very good explanations on thier website, but I found i could instantly dial in the effects i wanted, and see how much it was doing. Even just with headphones and nothing else playing I could hear the changes. Very happy. First time ive been able to get stuck in straight away with a comp. Here’s a photo showing it against the Spectracomp, and my BDDI for reference.

I remember it differently. The prices didnt creep up until later, but it was common knowledge how much of a barging these were, and why, from very earl on.

Well to be fair, i sad nothing special, especially at the price they go for, and added that i wasn't knocking the bass as such, just commenting that for £1000 you can get a lot of bass, so the JV is up there with these basses. Cant think of anything that would make it stand out from the crowd (at this prince point), other than its rep, which was based on it being head and shoulders above the crowd when it was released. Still, if it feels good and sounds good, its got to be worth whatever you pay.

Fair enough, so who sets the cost? Who determined that £1000 is a good price? And why not keep it if its that good? Not trying to start an argument, just replying to your posts as you did with mine.