Marvin

It may only be 200w but as we all know, Trace watts are louder than everyone else's I'm happy to see TE actually bringing out something new, it's been too long. Hopefully they can regain some of that position they once had.

As it says in the title, Ampeg have put out two new preamp stompboxes. Will be interesting to see what price they pitch them at. [url="http://www.ampeg.com/products/pedals/splash.html"]http://www.ampeg.com/products/pedals/splash.html[/url] [url="http://bassmusicianmagazine.com/2017/01/ampeg-debuts-two-new-ultra-affordable-stomp-boxes/?utm_source=dlvr.it&utm_medium=facebook"]http://bassmusicianm...medium=facebook[/url]

I have no preference when it comes to active or passive basses and own both (2 passive, 1 active/passive ). I do like basses that have active/passive switches, I like to have that option. One of my current basses used to be active and I ripped out the controls and changed it to passive. 3 reasons for this. Firstly, the pots were cheap and become worn out. Secondly, I couldn't source an active control unit that I was certain would fit the control cavity. And finally, something touched upon in the Scott Devine/Chris May video clip, one of the controls didn't work for me, it didn't cut/boost where I wanted. Batteries have never been an issue neither has the temptation to constantly keep adjusting the controls, I'm likely to do that as I am to the amp controls, in fact, a lot of the time I leave them flat on the bass. As for noise, the noisiest bass I've ever owned was a passive p bass, however, the second most noisy was an active J style. When it was noisy the preamp accentuated the problem. And I think in another Devine/May video Chris May explains that active isn't a guarantee of quiet and as such why Overwater use ghost coiling in J basses and proper shielding. My current go to bass is a Sire V7, which I tend to keep in passive mode. However, having read a couple of comments here at next band practice I'm going to use it in active and maybe slightly play around with its sweepable mid controls

Anything by Beck

Going back a little, Steve Vai and others occasionally turn up at the Lucky Strike LA. It's got a bit of a name but still not a big place and from the comments they just do it for the hell of it. WARNING: Contains naughty words [media]http://www.youtube.com/watch?v=Ik_2tlYB3K0[/media]

There are an increasing number of bands chasing a decreasing audience.

Experience/number of years chalked up doesn't tell you about a person's skill level, dedication, commitment, enthusiasm or a whole host of other things. One rule should apply, does the person understand what the role entails and what is required of them? Basically, can they do the job? The best 2 people I've been in a band with had the least experience of bands. They were head and shoulders above a lot of people I'd encountered who'd have vastly more 'time served'. I tend to avoid bands advertising for a bass player with experience. It generally turns out to mean "our bass player left 2 days ago, we have a gig at the weekend and want someone that knows our 30 song set...and there'll be no rehearsal". They're essentially call outs for a dep player, which I'm not.

Has anyone found any little gadgets, gizmos, sockets, plugs etc that can overcome the potential noise, buzzes, clangs, bangs etc you can get from daisy chaining effects pedals. I've only got 4 pedals, one of those is a tuner, and buying something like a Voodo Labs set up seems a bit ott. Ta

Loud guitarists in bands. 2 options 1. get rid of them. 2. leave yourself. People who play loud will always play loud, there's no point in trying to point out they need to turn it down however diplomatic you are, you're wasting your time. Move on or move them on.

I've just got a JOYO Dyna Comp pedal. For £30 it's very good.

I had one for a while. Pros: Packed full of effects and features. Very flexible, loads of patches you can make and switch off effects within patches. It's sturdy. Cons: Way to fiddly to actually make up patches. I just found it way too complicated to work with. I kept it a bit longer than I should really just for the auto-slap function which I found quite amusing.

I ordered the JOYO. It's a great idea, the pedal seems well made, the tuner is very good. It was also able to easily power my other pedals. However, it created a horrible buzz and hum. I assume it was a ground loop or similar emanating from the 9v2A power supply (although, because I didn't want to invalidate any guarantee, I didn't try another supply plug). Unfortunately I sent it back. It's a good concept, just didn't work out for me this time.

I played a festival last week and the bass player before me was using a Rumble 500 and after was using a MarkBass 121. The MarkBass sounded ok, nothing really wrong with, maybe a little uninspiring. The Rumble sounded great.

Nice bass, good choice fleabag. I gigged my V7 on Saturday. My band doesn't gig as much as I would like and I've been using my Squier P bass of late as I don't mind if that one gets a knock or two. From now on though I'll be taking the V7 whenever possible. It sounded great and was so much nicer to play. Love that bass. I'd say the guy playing for The Temptations was playing a V7. You can see the control plate has the 2 stack controls and there is a bit where you can just about make out the S on the headstock...then of course there is the headstock itself

Some seem to think it's an acceptable way to pad out a set. Personally I find it irritating, as much as a band member but also when watching a band.

"I don't mind just practicing once a week and just doing mate's parties". "I'm quite happy if we just make this a recording project".

Music theory just baffles me after you get past the rudimentary stuff. Modes, for example, complete mystery. Keys, chord tones and some other little bits and bobs is my limit. But then I've never really been in a situation where knowing any more would have been helpful...other band members would have just looked at me blankly if I'd been asking more in depth stuff. It's a struggle to get guitarists to tell you what chord they're playing let alone anything else. I wouldn't want the gigs that require a better theory knowledge though, or the ones that require you to read, they just don't interest me. People like what I do, I get the gig. If it ain't broke...

I saw The Eskies play on Sunday night. It was at the Palladium Club in North Devon. They're a very good band. Good tunes and stage presence with a good bucket load of humour as well. I'd not even got around to listening to any of their material before the gig. They're a bit more difficult to desribe than my mate suggested. He just said they were like the Levellers. There are similarities but the Eskies are more tuneful and sort of musical. Excellent gig

Like Adam Clayton on prozac.

No one in my family played any instrument at all, apart from a couple of cousins who like me are all self taught types. None of the options, therefore, are really relevant to me.

It's difficult to say from the photos. The ones on ebay look like they have a shinny casing, the others textured. Saying that, i would assume they're the same. £37.99 is the RRP and JHS are the distributor for Wilkinson so will quote the RRP

I'll probably get around to watching it, when it's on DVD or out to rent. I like watching music documentary film things, even if I'm not a fan of the artist or band. For example, BBC4 had a doc about Kenny Rogers. I've never really listened to his material but the programme was very interesting. He's very driven to be good at whatever he does but is also very open minded musically. The part about his collaboration with Lionel Richie was good.

[quote name='Passinwind' timestamp='1474391271' post='3137641'] Depends on which early ones you mean. I had a 1210L that was all mids all the time, and then a 21012L that made tons of low bass and was pretty well balanced all in all. The 1210L was fantastic for one particular band situation at the time, but utterly hopeless at taking EQ if any other thing was desired. OTOH, the 21012L was great as long as you didn't ever have to move it. I never see Schro cabs around here any more though. [/quote] I've got the 1212l, with the angled baffle. It's quite mid heavy. I've tried two different amps with it and although those mids are still there the head does make a noticeable difference (the two heads were an Aguilar TH350 and an Ashdown ABM500. The Ashdown was less middy)

I use my Schroeder 1212L with an Aguilar TH350. At my last gig my set up wasn't going through the PA, however, the 2 guitars were (both 100w valve heads and 212 cabs) and so was some of the drum kit. The Schroeder did not get lost at all, quite the opposite, it could have been doing with backing off the volume. I was relying someone in the audience to gauge my volume, I chose a bass player, which was clearly the wrong choice . The venue was a good enough size, somewhere around the 250 capacity. It did its job well, maybe too well. Schroeders (the earlier ones) don't focus on deep bass tones, but then I've always rolled them out anyway so not a problem for me. At the festival we played before that I used a supplied Hartke LH500 and a Hartke AK410 cab. It was a very nice sound. The volume on the amp up around 2o'clock, so not a lot left.

[quote name='discreet' timestamp='1474372675' post='3137442'] All three of mine arrived this morning, had to sign for the package. The build quality isn't as good as my Snark - more plasticky and less rubbery - but overall not too bad. The battery cover is fiddly - FYI to undo it you have to turn it clockwise, which of course goes against years of knowing it should be the opposite. There is only one button - press to switch on, press again to toggle to your instrument of choice, 'B' being the obvious setting. In operation the tuner functions well and is accurate, or at least as accurate as my Snark, my Korg Clip and my FZone tuner pedal. I really like the colour LCD display and the 'clock-hand' pointer, which makes the actual tuning very easy. I also like the clip, which has a very strong spring. Too many clip-ons have weak springs. However I was unable to rotate the display to where I would have liked it (I prefer to mount the tuner behind the headstock), but using the thing on its side is no big hardship. In all I like it and it was definitely worth two quid - as of today anyway, if it suddenly goes tits-up I'll let you know. [/quote] Back of that tuning plate looks a bit grubby, you should have ordered some brasso at the same time