flyfisher

"Lifetime Guarantee" are words that should send anyone rushing to read the smallprint. But there are other legal protections concerning the life of a product, generally referred to as 'fitness for purpose'. That might be difficult to nail down with a guitar lead but I've had things repaired at no cost outside of their 'manufacturers guarantee' period. Loved the VALHALLA Reference Power Cord though, especially the specification "1m available but 2m is better". Yeah, right. better for whom?

[quote name='cheddatom' post='739878' date='Feb 9 2010, 12:28 PM']I didn't realise you could get firewire drives. I shall investigate, ta![/quote] I've got external LaCie firewire drives that I use for digital video (DV) editing. Some have triple interfaces: USB2, Firewire 400 and Firewire 800. My understanding is that Firewire (400 Mbps) - although nominally slower than USB2 (480 Mbps) - supports faster sustained data rates than USB2 because of the drivers. This is obviously important with video and, I presume, is much the same with audio. 7200rpm drives are fine for DV. If you're going to splash out on 10,000rpm drives then besure that your PC I/O and drivers can make full use of the extra speed or you're just wasting your money.

I don't think electronics will be adversely affected by the temperature changes (the manuals may even specifiy storage ranges) but I certainly agree about the condensation comments. However, I would be more concerned about speaker cones getting damp and being weakened - possibly even damaged if played loudly while still damp?

[quote name='silddx' post='735012' date='Feb 4 2010, 01:32 PM']I am a complete convert from the idea of needing valve amp and a Fender, Stingray, blah blah. The future is digital.[/quote] Interesting point - and I agree with you - but you won't convince the diehards. I'm also a keen photographer and a similar impassioned debate rages in that world between 'chemical' (i.e. film) and digital photography. The really amusing thing about such debates, I think, is that people start to lose the plot. Photography and music are both artistic endeavours and the end results are subjective - you like them or you don't. If you like the tone that comes out of your speakers then the method by which it has been generated is irrelevant. Same with a photograph. The music is not 'better' just because there are valves instead of DSPs in the signal chain anymore than a photo is any 'better' because it came out of a darkroom. But, in a world where you can buy gold-lated mains plugs and interconnects costing £1000's, there are strong vested interests to keep such debates raging on.

Be careful when winding around your forearm that you're not twisting the cable(s) at the same time. That will eventually lead to premature failure. I coil mine my hand, giving each loop a small 'anti-twist' to ensure the cable coils up with without any twists. It's easier to do than to explain. For any sailors out there it's the same technique used to coil ropes. As mentioned, a cable reel is ideal for longer cables, but a bit OTT for guitar leads.

Scambaiting is a fairly well-developed sport in its own right: [url="http://www.thescambaiter.com/"]http://www.thescambaiter.com/[/url] The sad thing is that these scams must work on enough people to make it worthwhile and, of course, the web makes it easier to send out such scams to loads of people at virtually no cost.

What's the reasoning behind a guitar cable only being shielded at one end? I could, sort of, understand it if the cable was connecting two bits of separately-earthed equipment, but since a guitar is not separately earthed what's the point in not screening the cable at both ends? I assume it's some sort of noise-control thing, but I'm pretty sure all my cables are shielded both ends and I've never had noise problems.

It's a daft question really. Any relationship that gets to such a stage is already over. Relationships break down for all sorts of reasons, usually because the inherent incompatibilities eventually surface. If it happens to a musician, it's easy to blame the music. I happen to know someone who really was given this sort of ultimatum - although it was over a full-sized steam traction engine - and the answer was always obvious. Still, he's happy with his steam engine.

[quote name='4-string-thing' post='722161' date='Jan 23 2010, 01:46 PM']I suppose I could ask the guy what they're looking for, but I don't want to sound too keen/stupid.[/quote] I would ask. Surely it's reasonable to ask if they want to be a really accurate tribute or not? It would be a shame not to get the gig just because you unknowingly made the wrong style decision.

Perhaps it's a GAS-related syndrome where the afflicted people are more into 'the scene' than the music. Who cares what stuff looks like? It's the sound that emanates that's important and that will mainly be down to the skills of the player rather than the gear itself or any pretty pictures drawn on it. This all reminds me of an old friend who was really into hi-fi and spent thousands, possibly tens of thousands, on his audio system. Thing is, he only had about 10 CDs. Equipment lover, yes. Music lover? Hmm.

I've seen professional removals people using a strap as described, but not for lifting stuff on their own. I've only seen them use straps to help lift one end of large items such fridge-freezers or wardrobes. I've always assumed it helped them to lift their end of the item without having to bend their back too far. I've recently got 1x15 and 2x10 cabs, which I thought would be fairly manageable. I can carry one in each hand reasonably easily because it feels balanced, but carrying one, even with two hands, feels more awkward. Plus, the biggest problem, I find, is manouvreing through doorways and the like - it always seems to involve holding a cab away from my body, which puts strain on my back. Perhaps a 4x10 or even 8x10 cab would be easier in practice because I would always need someone to help me rather than struggling alone. I guess a roadie is the only answer (fat chance!).

My earliest and probably still current favourite bass solo was Bert Ruiter's playing on Anonymous 2 by Focus. I guess that dates me somewhat. [url="http://www.youtube.com/watch?v=XNzqWIz9wWs"]http://www.youtube.com/watch?v=XNzqWIz9wWs[/url] (part1) [url="http://www.youtube.com/watch?v=oxU44vMfhUw"]http://www.youtube.com/watch?v=oxU44vMfhUw[/url] (part2) Bass solo starts at 6:20 in part 1 (I couldn't find a single link) but the whole track is wonderful listening. Very slow start and build-up but worth sticking with it (if you've not heard it before - IMHO).

Watching the DVD of "Concert For George" can make my eyes a little watery. Who was it who said The Beatles were dying in the wrong order?

I didn't particularly like it but am glad it was posted as I'd not seen it before. I think my dislike is that all the 'blues feel' was missing, unlike the only other stuff I've heard of his with Alexis Korner. But all that is just personal opinion and, with anything as subjective as music, can't really be challenged on grounds of personal taste. Some will like it, others won't, but there can't really be right or wrong. Register your vote and move on. Having said that, it doesn't seem fair to call it lame since there is clearly a lot of skill and technique involved. I just don't like the result of all that skill and technique. I don't like opera or rap either, but I wouldn't call them lame.

Just to wrap up this thread, I eventually went for an Ashdown outfit - 115 and 210 mag cabs plus an Evo 300 II head. I've since played a few gigs and the difference compared to my Ampeg combo has been a great improvement, with no need to crank the volume right up to 'straining point'. I was planning to sell the Ampeg but now think I'll keep it as a practice amp and for smaller gigs. I've never been very good at getting rid of stuff!

[quote name='Relise' post='696108' date='Dec 30 2009, 08:57 AM']As you are in Hatfield then you have Machine Head in Hitchin and Music Dept. in St Albans very close.[/quote] Also Giggear in Hertford, which usually has used basses and amps as well as new ones. I'd suggest sticking to something fairly 'mainstream' for starters, like a P-bass. Their popularity is well-deserved and they'll be easy to sell-on if you eventually decide you want to change. But the best thing, by far, is to go somewhere and try various basses until you find one you feel happy with.

Thanks for those comments. Food for thought indeed. I could be tempted by the Compact on the basis that it might give me the extra volume I'm looking for (actually, being able to wind the amp down a bit) so it might buy me a lot of time before needing to upgrade the amp itself - depending how things work out with the new band. I take the point about trading the Ampeg combo for a new head but I'd like to hang on to it because it's pretty ideal for home use and small venues. I also like its sound, although I sometimes worry if I've just got used to it. I guess it's difficult to know if others like your sound as much as you do. Fair point about having to demo stuff. I'm not trying to 'select on spec', just trying to decide on a sensible strategy and sort out a shorlist. All comments have been very helpful in this regard. The Bass Bash sounds very tempting. I'll see what I can do with my diary. If I miss this one, are they a fairly regular event? Thanks again, Mike

Interesting idea. I'd not seen the Barefaced stuff before. A bit pricey for my budget, although maybe not if it turns out to be adequate with my Ampeg alone. Can you explain why you think adding a 1x15 cab would be better than adding a 2x10 cab. I've no particular preference, just a vague idea that 2x10 would be more of an 'update', but I could just be falling for fashion perhaps? Would another 15 give a better-matched outfit? Thanks for the advice.

My outfit consists of a Fender P-Bass plus Ampeg SVT-70T combo. I've recently hooked up with a new band and although the Ampeg is fine for rehearsals we're starting to play more regular gigs and I feel that 70W and 1x15 is now being pushed to, and sometimes over, the limit. So time to upgrade. Because going bigger seems to also mean getting heavier, I'm thinking of a head+cab rig. I'm also thinking two cabs, possibly a 2x10 and 1x15. And I'm thinking of around 300-500W. But, after loads of reading and surfing, that's about as far as I got before my head started spinning. Unfortunately, money [u]is[/u] an object and I'm wondering if it would be sensible to add a cab to my Ampeg combo first. It's rated at 140W into 4ohms, so would it be sensible to consider a 2x10 cab to run with the Ampeg combo? 140W might be enough for some of the smaller places we play. I could then add a 1x15 later and eventually get a new head. My final budget is around £500, probably more if I can delay the full outlay by buying a bit at a time, but each bit must be a useful addition to my Ampeg combo - until I have the full new rig of course. I've been looking at Marshall and Ashdown. I've also considered the Hartke VX3500 as it's the right sort of spec (I think) but it's a bit of a beast to lug around, hence my views on two cabs and a head. I'd really appreciate and comments and advice; I'm sure I'm not the only one to have grappled with this sort of dilemma. Cheers.