Marvin

It's very similar in size and weight to the Aguilar SL410x. Having got rid a 410 because it was so cumbersome to lift, not only the weight but the size, having seen Dave Boonshoft quite easily pick up an SL410x, I'd quite happily get one of these new smaller 410's. They're probably not much bigger than the 212s everyone is getting now.

If I were the defence team I'd just play this and leave it at that. [media]http://www.youtube.com/watch?v=5pidokakU4I[/media] Although I'm not a fan of Sheeran or Cardle this has been initiated by 2 faceless 'song writers' and a ball sucking lawyer Cardle has made it clear he has nothing to do with the legal proceedings, so fair shout to him.

[quote name='Skol303' timestamp='1465486596' post='3068690'] I like it! Milwaukee is now part of Basschat folklore [/quote] It's where TIM lives now

Vile little man. Exactly the sort of person the world can do without. I'd be concerned if I thought I needed to be intimidated and bullied in such a manner to up my game.

I thought I'd seek a bit of advice before deciding what to do. I bought an Ashdown ABM 500 evo iii 2nd hand. I plugged it in on getting it home and I'm getting, what I can only describe as, a sort of distorted hiss in the background when a note is played. When you mute the string it stops. It's very noticeable. It happens regardless of settings, even with low input gain, with flat eq, valve drive, compression and sub octave off. I'm a bit stumped. My first thoughts were the valve in the preamp, but as it does it when the valve drive is off I'm somewhat lost. Any pointers would be great. Thanks

I bought one a few weeks ago. It does what it says it does for a very low price. I'll always carry mine in my gig bag as an emergency DI box. I didn't read the instructions, it's a fairly straightforward pedal, I just play around with it to find the sound I want. It certainly adds depth and warth to my signal. A keeper for me. EDIT. Mark me down as not disappointed

I've gone through a few changes over the last 18 months. I had this. [attachment=220784:IMGP2974.jpg] Then this. [attachment=220785:20150503_101208.jpg] And now I've got this [attachment=220786:IMG_0269.jpg]

I'd go for the 500. I had one and it's fine for using at home. I always tend to 'er' on the side of caution and get as much volume, so to speak, as I can. I bought the 500 I had because I wasn't in a band but wanted to make sure that if I did join one I didn't have to sell a small combo to fund getting something to keep up with a band. Good job I did as within 2 months of buying it I was back in practice studios.

[quote name='gareth' timestamp='1464985559' post='3064508'] It would be interesting to do an FOI to Parcelforce and find out how much money they received say in 2015 from customers shipping musical instruments and paying for enhanced compensation which their own terms of business specifically exclude. [/quote] Parcelforce is a private company and thus not subject to freedom of information act requests.

[quote name='Jus Lukin' timestamp='1464974672' post='3064345'] Thanks! Sealed is a big part of the equation for me- they may not have been the most versatile, but all my favorite cabs have been that way. [/quote] I'm quite a fan of sealed cabs. I've played through a sealed 412 before and it sounded really good. I also had a small practice combo that was sealed, that sounded brilliant

[quote name='Jus Lukin' timestamp='1464960622' post='3064182'] Is it now?! Off topic, but what are you using? I'm on an ol' fashioned 4x12 kick right now! [/quote] No one knows what brand cab it is. I joined my current band a few months ago and the previous bass player simply left this cab behind and said the band could have it. There's nothing on it to identify the maker, not even on the jack plate. All I can say is that it's a fairly shallow box, it's sealed not ported, it has a small tweeter ( which is always on) and it's got some very crude looking metal mesh attempting to protect the drivers. It looks very unappealing but sounds very good...and you can really feel the sound waves on the back of your legs when you play through it.

I use a 112 in my loud band, it just happens to be housed in the same cabinet as 3 other 112s.

Others may find it quite dull, however, this was posted on Facebook and I thought it quite interesting to see what a pro player like Guy uses. ...and look, a Zoom B3. [url="https://www.facebook.com/tcelectronic/photos/a.118035693857.125097.11638678857/10154871856058858/?type=3&theater"]https://www.facebook.com/tcelectronic/photos/a.118035693857.125097.11638678857/10154871856058858/?type=3&theater[/url]

Tim Commerford is a fantastic bass player and to say he's obsessive about his tone and equipment he uses would be a massive understatement. Absolute credit to Barefaced and Alex for the hard work and perseverance to get the company to where it is now. Great news for a small British company

If I'm not in a band I watch films and eat doughnuts and my gear starts collecting dust

Pickups both on full and tone wide open. I like the slight phase from both pickups being on and the back pickup adds bite to contrast with the rounder neck pickup. All my EQing is done via the amp It provides a nice and useful contrast to the p bass I have

Where does this allusive heft come from? I assumed it was the power amp and its ability, or lack of, to give an amps sound or tone a presence or weight. The criticism of class d power stages used in most bass heads, as I've understood things (bearing in mind I'm not an electronics engineer or similar) is they can't sustain the power to provide that weight and presence of the tone you want, especially in the lower frequencies. Or is heft to do with the core tone of the preamp stage? If you stick a pedal in front of, or in the fx loop of, a head and you get heft, then surely it's not class d power amps that are the problem but the preamp stages of all these heads for many.

I joined an originals band a few months ago. Essentially all their previous material is like learning covers, however, half the set is now songs that have been written, with my input, since I've joined. The big difference for me is that audiences have no other reference point for the songs we play. No one is 'humming' the original in their head, no one is comparing what we do to the original. I find this and being able to play exactly what and how I feel I want to totally liberating. We've played a wedding and birthday party recently, gigs at which the vast majority of the people attending have never heard us before. We've had nothing but positive responses...and we're an Indie Punk band, just to give some reference. It somewhat shot a hole in the notion of playing familiar crowd pleasers. I'm hoping this band lasts for quite some time, I really don't want to play covers again for quite some time. I'm thoroughly enjoying playing now

The Behringer gear I've got has been as good as anything I've bought. I don't use it at the moment but I've got a rack mount 15 band eq unit, a switching pedal - which is quite versatile and ideal for changing over basses mid set if need be, and I've just bought a BDI21 which is fantastic value. I think they get a raw deal. It's inexpensive gear that in the main does the job it's design for. Some of isn't great but you pay your money... What 'turned' my attitude regards Behringer was 3 bands who have use their gear. The Winery Dogs were using personal onstage mixers by Behringer for their IEMs. I saw another professional local band to me use the very same piece of kit and they couldn't fault it. Finally, a band I supported whose bass player used a Behringer head and they had a Behringer PA cabs. These guys gig relentlessly and the Behringer gear never failed them and it all sounded fine.

[quote name='Joebethell' timestamp='1464203427' post='3057587'] Social media is a good way to get your point across most of these big companies pay attention to bookface and tw*ter a lot more than letters and emails as it reflects on them and can be seen/followed by the General public? In fact a lot of companies now have whole departments looking out for mentions of them. [/quote] It does indeed pay to use social media. You'd be surprised how quickly you get a response if you have a good grumble on a companies facebook or twitter accounts

Fender Rumble 200 head Second hand, maybe see if you can pick up one of the version 2 Rumble 350 heads. They were always overlooked IMO. If you definitely need aux in headphone out then the Aguilar TH350 is not for you. I get around this by using a Zoom B1on instead. It also has the added benefit that it'll run on batteries so one less cable and no worries about having to be near a power socket. The main thing with the ToneHammers are that the Gain and Drive controls don't behave like they do on other amps. They interact with the EQ section, so when you boost the drive it does 'stuff' to the mids. That said, my band recorded the first gig I did with the Tonehammer and I was very pleased with the tone I had (that was using a P bass).

Interparcel's specified collection time service is little short of a complete rubbish IMO. Interparcel will have no idea of the collection times of drivers in specific areas. I specified 9am-1pm for collection of a bass I sold. 5.30pm UPS turned up. I personally blame both Interparcel and UPS for wasting my whole day. Interparcel shouldn't have offered a product that could in no way be honoured and UPS for its part and not providing accurate information to 3rd parties. It's the second time in less than 6 months UPS have not been in my good books. Another bass I sold on here was left in a transit cage outside. The cardboard packaging was sodden apparently. Fortunately I pack stuff with so much bubble wrap the bass was still dry. So, Interparcel and UPS. I'll be trying my hardest to avoid them.

Almost forgot Did a dodgy motorway service station gear deal/swap a couple of months ago with Mark. An absolute breeze of an exchange and great to meet up him. If I had the money I'd buy more of his gear

We were going to play a festival that day...but apparently the drummer forgot he's away. I'm deeply suspicious now.

Good grief! That's stupidily large