DBerriff

Ordered from Andertons. Decent price for that level of quality hardware and I cannot help feeling that everything is about to get a bit more expensive in the short term. So I jumped. I too like Doug's philosophy. Thanks for the feedback, Kev.

Hmm. Sounds good... It's only money... Again... I just don't need that much power though... Then again, with the falling pound... Decisions, decisions!

I like their design approach. The end result looks classy. These are not sensible reasons for buying a new bass amp though. However, there do seem to be a few good reasons to make the investment. For Darkglass pedal owners, how have you found reliability? Darkglass appears to me to have a reputation for quality and I have just been assuming this will carry over to the new head.

I have worked with some musicians who are brilliant but obsessive too. I have a balanced life that I am am pretty content with, and would not want to be like them, much as I admire and respect them. Most people in the population could not tune, let alone play a bass. That makes all of us way above average.

Timely, friendly comms. Great packing. Item as described - which in this case meant as new. Very fair price. A1 ***** In other words, as good as it gets. Many thanks John.

I have a G&L Tribute JB-2 I gig with. I have a USA MJ-4 but superb bass that it is, it usually gets left at home.

As RR says, you probably do want the extended frequency range of a tweeter.

Hobbyist who to my surprise ended up semi-pro. I play for the enjoyment but I will be eternally grateful for the opportunity to play in a decent band. I did leave it a bit late in life but the day job and my lack of confidence got in the way of anything else.

The formula for power in Watts into a resistive load is: Power = R x I^2. 1.5mm cable is usually described as good for 15 A. Into a 4 Ohm resistive load this gives 4 x 15 x15 = 900 Watts capacity. Into 8 Ohms the capacity is 1800 Watts, which is how you are running it. A speaker is not a simple resistive load, but then again normal bass signals are not pegged at maximum power output. A faulty connection could result in localised overheating I suppose ...

It is a fine looking bass indeed. I personally would enjoy it for what it is, a 44 year old classic. At least one post mentions Dan Erlewine's book. It is comprehensive and based on years of experience. It is much cheaper to have a copy to refer to, than to mess up a classic bass or guitar. P.S. If lighter fluid sounds naff, just call it naptha.

"Box" stands with printed logos are expected for big band gigs. I learnt all the bass lines for soul/rock band I used to be in. The repetition and relatively simple song structures helped. I could not possibly do that for the big band set; it is a whole different level of complexity and the pad is huge. It can be done but I have to accept not by my brain.

Clean - yes, and lighter fluid is good because it evaporates and leaves no residue. But why polish? We have got used to thick, synthetic finishes on modern basses, but on a bass like this I would go with the patina. As for furniture or car finishing products I personally would want 100% assurance they do not contain anything that will be absorbed by the finish or wood.

John Williams at Noiseworks is great to deal with. Vastly experienced too.

I have to sort out how the band is using the PA before I can properly assess the One 10 for gigs. One cab is plenty for rehearsals and sounds superb.

Calm down peeps. This was during setup for a bit of physical stability. I must do it more often because it really spooks people. As for wiring colour who cares?; I could hardly be seen let alone what was going on around my feet. Think Big Band scenario.

A Genzler Magellan will sit neatly on top (ok, One 10s here) and go down to 2.7 Ohms if you need another cab. Plus it all sounds good to me. [url=https://flic.kr/p/JcE9EJ][/url][url=https://flic.kr/p/JcE9EJ]Compact Gig Rig[/url] by [url=https://www.flickr.com/photos/berriff/]David Jones[/url], on Flickr

I have bought a few over the years. The fit has always been spot on, including for the EA cab where I sent in the measurements. The level of protection depends on the thickness of the padding you choose. I went with the basic and I have no complaints. For car-transported gear it is perfectly adequate. If you employ roadies you might need better.

Just a quick word of warning - not all USA manufacturers still use imperial. G&L switched to metric in 2005. They might be a one off. http://guitarsbyleo.com/FORUM/viewtopic.php?p=42 Halfords is another place for picking up allen keys / hex wrenches. From what I have seen they are supplied with most new basses (not Musicman though?), then dealers lose them along with the delivery box, or owners mislay them along with the rest of the "case candy".

I have been watching for a fair few years. I gave up for a bit but I have found lots of great music this time round. Producers too who actually understand the music and show fhe bands. If you just dismiss it all then you have a jaded palette or a crap sound system. So far we have enjoyed the Syrian Orchestra (Damon Albarn), Chvrches, M83, New Order and remarkably Shibusashirazu, the Japanese jazz orchestra. Huge fun once they get going.

Another of the all-time greats has left us. RIP.

Chris, thank you for contributions which are much appreciated. I have joined a new band and I am struggling a bit with cab vs PA settings.

I bought my first Stingray last year and I will add superb build quality to all the other points made here. The detail is so "right" too. The nut, the truss-rod adjuster, the metalwork - these basses are not going to let you down on a gig. Perhaps the Caprice is re-interpreting a familiar formula but it appears to be doing it with a lot of style.

I made the switch some 6 years ago, and here is my take on it. Logic and Cubase are both hugely capable. The real question is, which one do you find it easiest to work with? If the way you think about tasks harmonises with the interface design, then that is the DAW for you. It will never be a perfect match, but I found with Cubase I was always reaching for the manual; with Logic much less so. But that, I emphasise, is just a result of the way I think about things and not any suggestion that the Logic interface is "better". A DJ friend of mind found Cubase worked for him, and bought my licence. So my learning curve was pretty shallow and it all gelled pretty quickly. One concern I have had is about Apple's commitment to its software. The good news is that a significant update for Logic was issued this week.