LITTLEWING

Absolutely genuine guy. Had a few problems totally out of his hands with the Royal Snail losing and fortunately finding a package. Took nearly two weeks to get to my door but Stevie kept me updated all the time chasing it up. Definitely buy from him again, no problem.

[quote name='bertbass' timestamp='1370368786' post='2099872'] I used an 8x10 for every gig I did for the last 10 years, pubs, clubs, festivals, inside and out. one of the easiest cabs I've ever had to move around, much easier than a 4x10. Takes up the same amount of floor space, or less, than a 4x10. Being taller, you can hear what you're playing and you can also see the controls on your amp a lot better. I do however use a van to get the band's gear about which is an advantage. Easier to wheel it in and out of a van than to coax it into a Golf. Oh, and I never had a Landlord complain either. [/quote] Couldn't agree more, bud. Best sound I've EVER had, does the job everywhere.

This may be a tad long winded, but someone out there may have a solution. I acquired a Fender Strat (I know it's not a bass!) in a cream colour and there is evidence of (I assume) a circular sticker which has left a lighter patch about three inches across. I don't know if the finish has aged darker before this was removed or if it was in the sun for a period of time 'tanning' the colour just as we do in the sun. Or would the sun fade colour?? My way of thinking is to cut a circle out of a piece of card and carefully 'burn' the light patch in gradually on a sunny day to match the rest. (or would I be going in the wrong direction and make the patch even whiter??) Help!!

This may be a tad long winded, but someone out there may have a solution. I acquired a Fender Strat (I know it's not a bass!) in a cream colour and there is evidence of (I assume) a circular sticker which has left a lighter patch about three inches across. I don't know if the finish has aged darker before this was removed or if it was in the sun for a period of time 'tanning' the colour just as we do in the sun. Or would the sun fade colour?? My way of thinking is to cut a circle out of a piece of card and carefully 'burn' the light patch in gradually on a sunny day to match the rest. (or would I be going in the wrong direction and make the patch even whiter??) Help!!

'Scuse my higorance here, but all this pish about good and bad tuners, how can a tuner gear (unless it's really a ten pence far East item) actually let a string go out of tune? A string needs retuning because you've just stretched the tits out of it with a bit of enthusiastic playing for a while, surely. My Squier VM Jazz has had no tuning issues in a year and a half. In fact, each time I take it out of it's case it's exactly the same as I left it, as does my Yammy BBN5. If I'm seriously missing something here, I'll sit and humbly take it all on board and happily digest new found knowledge.

I must admit, I'd love an Ampeg rig if I had the money (the 100w 1 x 15" combo in our rehearsal rooms is awesome). But since acquiring an Ashdown Mag 8 x 10" to partner my Ashdown EVO 2 300w head, I'm more than happy each venue we play at. Very rarely do I have to alter any EQ, the sound is huge, heavy and crystal sharp and certainly not 'wooly'. I find the trick to the sound is both low and high buttons 'in', low bass on 3 o/c, mid bass on 12 o/c, mids on 12 o/c, mid treble on 3 o/c and the high treble on 3 o/c. I have the input meter just clipping the red on the B string and final volume at 2 o/c. We're a three piece rock covers band and simply using the tone on my bass does everything I want. This setting even works on my Ashdown Compact 1 x 15" very nicely at praccy. The bottom line is Ashdown cabs need to be driven, not tickled. BTW, what exactly does anyone get from the 'sub' button??? To my ears it's a totally nasty sounding, unwanted, waste of "technology". Yuk! Sorry!!

Thanks for all the replies chaps. I've wired the speaker up as white for positive anyhoo and everything sounds nice and punchy. Cheers again guys.

Just a quickie, I took the amp section out of my Squier 15w combo to make a 12" praccy combo and in between weekends of messing about I've forgotten which way the speaker wires go. There's one black and one white but I can't remember which is positive and negative. I'm assuming black is neg but things are never simple in 'ampworld'. Anyone have an idea?

At the end of the day, how often if ever is anyone going to find the need to remove their neck? Why not just glue the thing in once and for all? End result, one solid guitar.

Just to say, I have Prosteels on my Squier VM Jazz and Elixir Nano's on my Yamaha BBN5Mk2 which seem as though they were made for it, nice round 'middle' tone. I had Nano's on the jazz but found them a bit unbalanced in volume, especially the B which seemed to 'boom' rather than resonate, and so I tended to use the Yammy more. As soon as I put the 'steels on the Jazz I fell in love with it again and the now have the Yammy as a home noodler and a spare on stage.

Been using these for years. Never had any noises or any problems. Check out the artists that use them. Good enough for me! [url="http://www.award-session.com/cleartone_cables.html"]http://www.award-ses...one_cables.html[/url] (I use OBBM's amp to cab cables, totally brilliant. Haven't tried bass to amp cables though, probably should!)

I just fitted a set of five D'addario Prosteels to my Squier VM Jazz and recalled reading somewhere on BC about pushing the string down on the playing side of the saddle to make a slight 'break' angle rather than a useless 'arc'. I was a bit concerned that the 'steels weren't ringing as I thought they should and decided to give it a go. OMG, what a difference! They're ringing like a piano on all five especially the B. My only hope is now that this hasn't encouraged string breakage. We'll have to wait and see. Anybody else do this as the norm or am I the last to know???

We've all been here!! [url="http://www.youtube.com/watch?v=SYlsSWW0rPI"]http://www.youtube.com/watch?v=SYlsSWW0rPI[/url]

The trouble with pubs/clubs is that they're all different sizes, stages/playing areas etc. added to the fact of people coming, going, a bunch that gets up and goes out for a cigarette, all changing the overall sound all the time. The mix you start with when you set up early evening will be totally different by 10 o/c. The best thing we do as a three piece is for me to set a comfy clean level with the drums then bring up the guitar to a sensible listening level along with the vocals. A bit of fine tweaking for 5 mins with bass mids and cutting bass off the guitar is the best you're going to get unless you're mic'd up to a decent engineer. A quick stroll left to right with a long lead as a final sound check and we've never had any complaints yet. In fact we get a lot of punters saying how good we sounded and not blasting the windows out like the last night's band.

While my Squier VM Jazz 5 string is an incredible piece of gigging tool for the money, I can't help thinking the bridge could be letting the sound quality of the B string down a tad. I'm using Elixir Nano's just now. What would you guys recommend as a good bridge replacement?

I've always been a Fender guy, particularly the incredibly versatile Jazz, (had a couple of very nice Precisions too in the 70's) but there's no way I'd personally risk a large wad of fifties on a new Fender. The QC issues over the years have put me right off. Last year I bought a Squier VM Jazz for less than £250 and have had no issues with it whatsoever. Apart from the usual initial fine tuning of the truss and saddles I've got the sound I want for about 60 different covers, getting quite a few comments at the end about the great sound and even 'awesome bass player' a few times which makes me feel good. For that price I'm over the moon and not exactly going to throw a fit if it gets a couple of dings. So, £1000 plus for a huge risk or less than a week's wages for a gigging tool of the trade which does exactly the same thing?

Maybe I didn't put the right words in my other post. What I'm after is a good sounding box to help a passive bass sound sweeter before hitting the amp. I can't afford an active Stingray at the minute so I'm looking at getting a sound I like without messing with the EQ on my amp too much and colouring things too much. I'd rather have a pleasing tone going in the amp and then using it to simply amplify and maybe fine tune things from there. What's good on the market?

Okay, what I'm after is close right now using the bass's tone control, a cross between Paladino when I want 'smooth' and Clayton when I want 'punch'. I may well be barking up the wrong tree in the fact that my 300 watts isn't doing it at volume, whereas 500 may give me what I'm after with more headroom.

I've never been a fan of stomp boxes for bass, I believe in the tone going in and out as natural as possible with my passive basses, but I keep thinking a little help may be needed to get 'that' tone with my Ashdown Mag EVO 2 300 and Ashdown Mag 8 x 10. I don't fancy spending a fortune on something I might not get on with, so any suggestions chaps? I may even have to concede in the end to an active bass. A great excuse to get my dream Musicman Stingray!!

My Ashdown EVO 2 300 head sometimes has a wobbly when playing a passive bass thru the active channel (simply to clean things up and use more headroom in the input). It sounds just like a speaker very faintly crackling starting to give imminent warning of dying although there's nothing wrong with the speakers, (it's an 8 x 10), as #1 I've put it thru another cab and it still does it, and #2 if I swap to the passive channel everything's totally fine. I know the active channel socket simply has a filter, so there's nothing wrong amp-wise. I'm thinking either dry joint or dirty/tarnished socket ring/tongue?

Cheers for that, Bill. I think I'll leave things just as they are and keep my tools locked up in the garage!!

I've just acquired an Ashdown Mag 810 and although it needs a bit of driving and I have a good 'scooped' sound with my Ashdown Evo2 300 head, I can't help thinking the cab could be upgraded with a couple of ports in the front of the sealed cab. I need the bass knob on full to get decent bass out whereas my old Peavey 410 TVX with bottom vent would have rattled the windows out. Would this ruin a perfectly good tuned box (Ashdown must know what they're doing!) or is it worth a couple of hours sweat?

Okay, here's a daft one, but it might make all the long-term difference. After a gig/rehearsal/home run-through, blah, blah, you lovingly put your baby back in it's case after wiping down the strings etc, etc. Now....is it best to stand the case up against a wall, lay it on it's side, or lay it on it's back? Discuss.