ghostwheel

This cab is a nice one, indeed. That said, I have problems playing it in my relatively empty sitting room. I suppose it’s because of the cab not being voiced but rather having a sort of flat response, so frequencies about C# (on the A string) make it sound boomy. An old Ashdown ABM 200 made it easier though.

Well, a test I've been asked to make recently said that I am a people pleaser, so I have to comply. But I'm genuinely embarrassed by showing those. There is no build quality at all. As I mentioned before, this kit has been used for a couple of builds, so every three of the knobs are Gain, Treble and Bass accordingly. I couldn't've been bothered to make lettering complaint. This one won't last any long too, as I've got a genuine midrange control toroidal inductor and will make use of it someday.

Thank you. I'm actually not proud of what it looks like. There's no head shell and it isn't built well (being a DIY kit for JTM45 which had been used for various builds before). Perhaps, I'll build a new one with 6SL7s someday and get a nice head shell for it.

Sounds like that letter from Ms Stapleton to Sir Henry I'm afraid I lost my sanity in my teens, so there's nothing to be concerned about And, at last: - How to make a Russian do something? - Forbid it.

Thank you guys for such a warm welcome! It's unbelievable how many of you speak German, and you do it well if I may. @Richard R I'm looking forward to such jokes In my humble opinion, it's as important as basics of grammar and a bit of vocabulary to understand how it works in a country. My very first book in German was a book of East German jokes. @Geek99 thank you for the explanation. It will be "Make up a lie about the previous poster." then, I suppose. I'll read it through @dyerseve I bet you know this German saying about practising making a master After about six years, I stopped abusing my brain with the likes of "Am I good enough?", "Will it get better?". I am. It will. A colleague of mine told me once he won't notice any mistakes as long as he understands what I'm trying to say. @Si600 The most parts of it are excellent, my Lord (I hope it wasn't too rude. My apologies if it was)

Just my two penn’orth. I once had a Ray34CA fretless which came strung with D'Addario ENR70, if I remember correctly. They were okay, but nothing special. Not utterly bad, but also nothing more than that. I tried some ENR71 afterwards and hated them from the day one. They were rather dull, a way worse than Chromes. The latter ones weren't even broken in, so quite bright.

It's probably sort of overdue, but I still am unconfident regarding my English, so please be kind noticing lots of mistakes I usually make. I've been living in Germany for over seven years. I do system programming for IBM z for a living. I've been learning to play the bass for 2 years. I'm working on my plucking the most of time to get that light but powerful touch. I trust you know what I mean. I don't play in any band and don't think I ever will. Backing tracks and that kind of things (thanks Logic 11 it's easy). My basses are Rays and Ps (there also is a fretless P/J with an ebony fretboard, but it's more P than J for me). My favourite strings at the moment are Ernie Ball Group III and Ernie Ball Super Slinky Cobalt flats. THat said, Fender 9050ML have been the ones made me love that fretless P/J. I reckon, it always depends on a bass. I didn't like 9050ML on a '60s P, but on a '50s P they felt and sounded quite good. As for equipment, I prefer Ampeg'ish kind of sound. I've built a valve amplifier like Ampeg Heritage B-15, but with 12AX7. However, those are SGT-DI or RB-110 with an Ampeg Opto Comp in front of them that I play the most of time. It's not quite easy to say what kind of music I like to play the most. Surely, there are some basslines of Bernard Edwards' which I hope I will be able to play decently someday as well as Hit Me With Your Rhythm Stick and I shoulda loved ya. Of course, it will take its time, so I don't get frustrated and keep doing. The rest is rather pop music. I certainly prefer to read, but sometimes it becomes unbearable to not to post one or another meaningless opinion of mine. Sorry for those being bollocks.

But it's Ola who makes them sound as a band. At least, it feels like that.

I wonder if they would’ve invited Guy Pratt to play bass had Mr Marr accepted the offer.

I personally would go for Fender 9050. I've been in love with them since I got my first set onto a P-bass (those are 9050ML). I also had a set of 9050M on a fretless Stingray, and it sounded good too. There are more midrange from TIs, but my fingers won’t get on with their haptics.

But why? Why would he move over to another instrument? Are there any regulations I'm missing? Is it prohibited by some law, to play one piece of wood strung with some wire instead of another piece of wood strung with some wire? I must be a little bit naive thinking that in the free Western world, it is up to every person to decide which instrument they play and how. No offence.

Actually, there's no classical Fender tonestack, but a James one built in a perverse way, so that it's flat when turned all the way down. This particular pedal is also not very power-amp-friendly since it hasn’t got any buffer at the output. Seems like it won’t sell soon Back then, I also built a Particle Accelerator one, which sold very quickly as it’s a very nice one with a classical Fender tonestack. The bloke who bought the latter was as happy as Larry. So, back to topic, there’s Underground Accelerator by Sushi Box FX, which is basically the same as Particle Accelerator, but with one or two features more.

You might like to have a look at this

I used to have either. Both of them sound a little bit warm what I suppose is a typical Markbass sound. Both of them will have that proprietary class D power amplifier of Marco's, which makes them sound this way, as far as I know. The LM250 was a bit of overkill for me since I didn't use VLE nor VPF, so I just replaced it with a Nano II.

What's about salmon? In my humble opinion, it tastes quite good.