ThomBassmonkey

I tend to use the clean guitar amps (I usually go for the bright fenders). The EQ isn't where I'd like it but I get enough control to keep me happy. I have used the mic channel too though, I use active basses so I can control my EQ that way.

[quote name='rmshaw37' post='1338491' date='Aug 13 2011, 10:07 AM'](not proper biamp)[/quote] Just for the record, I disagree with this. Two preamps running two power amps (your power amp is stereo iirc, essentially two power amps in one module) into two cabs, sounds properly bi-amped to me. Gk and ampeg do some preamps that I've heard good things about.

Basically something like the intro to forty six & two for the subtler side.[URK, spazzing out moment, that's chorus, can't find anything offhand, it,s mostly guitar doing the phased parts in the songs I'm looking at, I'll keep my ears open next time I listen to their albums] Just within the one band I do everything from slap to two hand tapping though so the more versatile the pedal, the better. I'm not a fan of bass reverb/delay and I have distortion on my head, so don't need either of those, this pedal seems to cover pretty much everything else though. If you'd be happy to lend it me, I'd really appreciate that. It'd be good to have a chance to experiment with it properly. :

Thanks! What's it like for the more subtle stuff? I'm not really a funk player, I like the sounds but with the settings whacked up, I can't tell what it'd be like for more phaser type sounds. Think some of the tones used by JC from Tool in slower sections, is it capable of that type of thing?

My band's considering investing in some stage lighting and/or a projector and screen for our shows. General feeling is that we consistently want our gigs to be a show rather than some people on stage playing music, we get good comments about our stage show as it is but we want to take the next step and make our stage ours rather than feeling like we're playing on someone else's stage. We'll have our manager/roadie to take care of it hands on while we play, but I'm curious if other people have experience with it. How much hassle is it adding a projector screen to the stuff that needs to be got on and off stage when we play, how many venues have somewhere suitable to put a projector etc. If anyone is in the know, any suggestions on software or hardware that can be used to give a good effect? How does a projector compare to some basic lighting that we could set up quickly. I don't know a budget yet, this is very early stages of consideration.

I'm considering getting some fx to have more sounds than clean and distortion when needed, I've been looking about a bit today and both of their pro pedals seem great. I wasn't actually looking at distortions, but looked at the video after enjoying the filter one and it does way more than just distortions. Anyone used either of them (particularly the filter)? I'd be interested to know how it sounds when it's used more subtly, the promo videos use very in your face perameters. It sounds amazing, so versatile! Seems like a potential, I've seen it for £188 which seems a good deal for the amount of stuff it can do.

Have you tried a different lead? Different amp? All kinds of things can interact to make hiss, it'll probably start with your pre, but your lead or amp could be making it worse.

I'll be using my hiscox on Sunday so you can have a look in the flesh.

Generally true, but I've been on big stages with crap monitors or where the monitor engineer is off his head on whatever his drug of choice is, it's nice to have a bit of beef for your own benefit, so long as you don't screw up the foh mix. That's more to do with elevation IME though, a vertical 4x10 will help as much as an 810 but be lighter, cheaper, more practical and quieter out front whilst still directing the sound at your ears.

I'd go with 212s over a 610 personally. The convenience of 2 cabs, having an easy resistance rating and less weight outweigh the benefits of a 610, all IMO of course. Though I must admit, I don't really know what the benefits are from a 610, 410s are loud enough in general and they don't have the height of 810s. It seems like they're all the negatives from both with added resistance oddness for flavour.

They're the most expensive because they cost the most to make, I expect. Lots of companies just don't bother making them, especially in certain ranges. I've never had to live with one, I did used to use 410s though and they were a pain on their own, I think that if you have an 810 it's likely you'll need a hand any time you want to move it about (I can't imagine loading one into transport on my own, that's before the possibility of stairs at a venue) and you'll need at least a large estate car to fit it, if not a van. 610s are more practical, Dbass on this forum used to have a Mark bass 610 and it wasn't all that bigger or heavier than my 410, I think that they're not as popular as they start to use strange numbers in resistance, if you use 2/4/8 ohm cabs you know where you stand, if you start using fractions, it quickly gets confusing, especially as amp manufacturers round their numbers.

[quote name='Captain Bass' post='1351919' date='Aug 26 2011, 12:38 AM']Hey dude, i've seen a couple of your posts about that silver bass It was a loan bass from warwick, I thought it looked like a decent stage bass for that band I was doing at the time (New Device) We had a music video coming up and I thought the finish would look "good" for the video :-S I only had this bass for 4 months, and it is not something i would buy for myself..........not that I can afford warwicks prices they are offering me. Andy[/quote] Fair enough, I remember you saying it was only a loan one now. It sounded great, the colour just wasn't for me at all though. I can understand that it might look good with proper lighting, that working men's club we played to a group of pensioners wasn't really the right setting for something so flashy though haha.

+1 to MM20, to me the typical Flea tone will always be a Ray into a 2001rb with rbh cabs. I don't know why he moved away from GK but it sounds to me like he moved away from MMs for stupid reasons.

You can buy a good bass for £400 that would deal with any situation thrown at it, anything above that and you're paying for your preferences. I'd spend as much as it cost and I could afford to get the bass I want.

[quote name='Merton' post='1349362' date='Aug 23 2011, 07:54 PM']Do you have any soundclips of it? Part if me still tempted to swap the Eden and MB200 for the MB Fusion..... I'd probably miss my Eden a lot though, it is awesome and by far the best amp I've used [/quote] If you look up lil jim's big squeeze on facebook, we're releasing cheatin n creepin on Sunday and it's available for download free for a week I think, I used it on that. I don't have a set up at home that let's me record amps though so it's only releases that I use my Gks on.

Input level is probably marked as gain on your amp.

[quote name='Truckstop' post='1346200' date='Aug 20 2011, 11:30 AM']Could someone explain to me, very simply and slowly, the process behind bi-amping and blending please? With some examples too? I hear the terms bandied around a bit here and they seem to be interchangeable, but this thread has shown me that clearly they're not! I think I have an idea but it's probably wrong. Cheers anyone! Truckstop[/quote] I can't give you examples, but the basic principal is that blending splits the signal so that two different signal chains can be used e.g. One clean, one dirty, but they'll both go back to the same amp. Ultimately if two signals are going through the same power amp and speakers, they'll interact to an extent. Bi amping means the same thing but instead of going back into one amp, it goes to two. There's no interaction between signals until it's out of the speakers and it gives you the choice to use different gear for both signals. Gear can contain internal versions of both, e.g. The blowtorch has a blend control that let's you let through some dry and wet signal and GK artist series heads have bi-amping. They're slightly different though in that there's not really a choice between different sets of fx on the blowtorch, it's a mix of wet and dry and the GK bi-amping is woofers and tweeters rather than using two pre-amps and two different cabs.

Well you guys have the 200 and 500 covered, I'll complete the collection with the fusion. Love it! Loads of tonal options and it breaks up nicely. It has plenty of power with the neo 212s I use.

A jazz with a term? If you're using the trem you're pretty limited in your choices. If you don't need the trem, I'd go with something else, MIJ jazzes are very nice and there's no point spending £1500 on a bass that's similar to a good quality one you already own. I'd be looking at musicmans, Sandbergs, overwaters in that price range 2nd hand. Try 5 strings if you're thinking about that but defo don't buy one new, lots of people don't get on with them and there's no int laying down that much money on such a risk.

Yep, pronounced cahon. It's basically a box with a snare rattle inside it. Fun instruments.

Powersoaks and other attenuators are generally designed for guitar so they'll only work up to 100w, I don't know what wattage the JCM is, but unless it's 100w or under, you'll damage the attenuators and most likely head. 210s are fine for home use and if you're playing quietly at gigs, it'll do. If you're playing loud rock, it'll struggle though. Personally I'd go for a minimum of 212, preferably 410 for a one cab rig. Neo cabs are generally pretty light, I carried my bass, head and two 212 cabs at once on the way into a jam last week.

It says a pair of active Seymour Duncans, I'd assume there was a buried one too. I like the looks though, but the thought of it having to take it to a luthier to have the top removed for any basic repair would scare the crap out of me.