Ian Savage

[url="http://www.zillacabs.com/recovering.html"]http://www.zillacabs.com/recovering.html[/url] They make wicked-cool custom cabs too.

If your amp allows it (and you've got multiple cabs) I'd suggest running a dirt box through the 'top' end of the amp and leaving the low end untouched. It might be a bit fiddly but well worth it if the amp's got an inbuilt crossover or suchlike...

Matt Freeman (Rancid) And that's largely it.

I love my Squier Silver series Jazz, and I think I've got a bit of inverted snobbery about it NOT being a Fender My major problem is with other musicians, I think that people (even subliminaly) question your professionalism when a Squier (or Epiphone, for that matter) comes out of your case rather than a Fender or Gibson.

The band I was last in had one of those Crate PowerBlocks in the van as well, just about enough power for bass (as well as an XLR DI output) and as a bonus didn't sound terrible for distorted guitar either. Never had to use it, but picked it up for fifty quid when Sound Control were farming them out discontinued; you'll pay at least that secondhand, and there's no product support for them (as I recall, the manufacturer of the power module - which indeed isn't Class D, I believe they're Class H or some such esoteric thing - stopped making them because the technology wasn't far advanced enough to make them reliable) but as an insurance policy for ALL of the plank-spankers in a band, as long as you get it out and check it regularly I reckon one'd be worth the thirty quid or so you'd each have to stump up. That's whether your main head is valve or solid-state too, by the way - the most reliable amp I've ever come across was my old singer's valve JCM2000 (nearly ten years without so much as a service), the least reliable the multiple SS Ashdown MAG heads I went through a few years back before I finally saw sense and took a refund.

Generally speaking, log for volume, lin for tone. Avoids the 'all-at-one-end' effect that you sometimes get with ill-though-out control setups.

'My bass', lately I did go through a phase of naming instruments after the lass I'd last slept with when I bought them, but I suspect that the othe rhalf might get suspicious if that carried on

[quote name='RhysP' post='821089' date='Apr 27 2010, 08:18 PM']I wouldn't exactly say Entwhistle "died early" - he was getting on a bit! [/quote] And died in a blizzard of coke and women - still a hero of mine!

Bloody hell, it's nothing compared to drummers - Keith Moon, John Bonham, Jeff Porcaro (Toto - bizarre gardening accident, Nigel Tufnel would be proud ), Razzle, Eric Carr, The Rev (Avenged Sevenfold)...I'm sure there's more, I just can't pull them to mind right now...

Strictly speaking I own 4; but two of those are autographed and thrashed and so just for show, and another's for sale, so really I've only got my Squier Silver series Jazz as a gigging bass. And I love it Shall be simplifying my amp rig as well, hopefully changing the big cab and techy head I've got at the minute for a single 2x10 or 1x15 and an Ashdown ABM - simplicity is bliss!

[quote name='Wil' post='800791' date='Apr 9 2010, 01:01 PM']I think some mics have a phase reversal switch on them, not quite sure how this works, but I guess it's to combat this problem.[/quote] The microphone phase reverse switch is a simple little thing that swaps the signal going to pin 2 of the XLR onto pin 3, and vice versa. Puts the output signal 180 degrees out-of-phase with the input signal, although as someone's already said unless your input signal to the microphone happens to be in the area of 180 degrees out of phase with the DI signal it's not a cure-all. The visual metering method's certainly the best way of doing things technically, although I just tend to get a lackey to move the mic around while the bassist's playing until it 'sounds best'.