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I really have no idea how to word this so the title is just a bunch of words tossed out.

BUT, so I had a CMD 210 combo and took out the combo head and put a Little Marcus 500 in there, it it's great. The combo cab has a little 1/4" cable end coming out and the head has one speakon 1/4" combo output.

How would you go about adding an extension cab? I could to a cable to the extension cab and then run a speaker cable with a female 1/4" back to the combo, is that what you guys would do?

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I guess you could say this is a little Marcus style ditty based on the G & A Major triads.

It’s a Chinese clone of a Noble. I wonder if it sounds any good…

Hi, all.

I picked up a beautiful Suhr P bass and am interested in attaching a Fender style bridge cover so I can easily add material to mute the strings, a la Jamerson.

However, I don’t want to drill holes in my bass. I’m hoping for suggestions on mounting it in a way that down the road if I want to remove it my bass finish is pristine.

Appreciate any suggestions!

Have improved things over using AKG K-92s (with a now defective cord) or a pair of Razer gaming headphones I have for work with an impulse response applied in Reaper to allegedly make them sound flat, which to be fair wasn't completely terrible. I also tried it for the AKGs.

But rather than get the standard Beyer Dynamic DT770 Pros (my wife has a pair) I actually got a pair of Audio Technica M40X. Looking at the specs the DT770s might technically be slightly flatter (relative to what the ear perceives as flat) but the Audio Technica have a detachable cord and give you a spare and that's what always kills my headphones, like the AKGs that I have to jiggle to get stereo from. I wish it was a standard 3.5mm connection not a 2.5mm but I can probably work around that if I wreck both cords. But I can now hear things much better.

I'll still consider fixing the AKGs as a backup even if I was never totally convinced by the sound which is a bit harsh at the top end and sort of missing in the middle. OK, that's not a super technical description but hopefully conveys some of my dissatisfaction.

It's nice to know I have fixed the weakest link in my quiet practising.

I got this Spector Euro 5 from the Classifieds last night. I started to set it up and fix it up. It's playing right now, but it doesn't have a preamp. What do you suggest?

Why Walmart?
I wouldn't mind picking up some socks and one of those $5 rotisserie chickens, too.

Hey everyone, I’m seriously considering buying a Rickenbacker (plus two Super Forty pedals) to play 70s-era Rush material—stuff like A Farewell to Kings, Hemispheres, Permanent Waves, and so on. The issue is that a lot of people say the 4003 models can't quite nail the 4001 sound, even with the push-pull pot that engages the "vintage" tone (activating the bass-cut capacitor). So, I’m torn on this. I’ve seen some Jetglo 4001s on Reverb at reasonable prices, while others are exorbitantly priced—even when they’re in poor cosmetic condition. I know modern 4003s are reputed to have thicker necks, but they also come with the V2 bridge, whereas a 4001 would likely need a swap to a Hipshot bridge. Ideally, I’d love to get a 4001 in good condition, but I don't have any prior experience with Rickenbackers.

Started today.
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Supporting Member.

I've had/played several heads over the years including Markbass, Mesa, Aguilar, GK, etc and my favorite amp of all time (so far) is the Eden Nemesis line (NOT the World Tour series - that sounded too 'clinical' to me). I just love the warmth and depth (without overly boomy-ness) of the lows, the 'enhance' (mid scoop) paired with a parametric EQ for my ~2kHz boost preference allows for very flexible mid shaping, and the highs are glassy smooth WITHOUT a ton of buzz or string noise. If I was to nitpick anything, I might prefer a little more 'character' in the mids. Something like combining the lows and highs of my Nemesis with the mids of my Markbass or Aguilar TH would be amazing! Pretty much the only reason I don't drive it all the time is because they're super old and parts are non-existent, so when they DO go bad, I have to hope I've got some spares from some previously loved Nemesis amps that have bit the dust in slightly different ways.

I have a few amps on my short list, but what are some suggestions on amps that would give me this type of sound?

Hey everyone! I dont post a lot but heres my newest instrument. A 1978 Jazz bass, olympic white, completely stock. I got it for a song and it is my new #1. Previous owner must have played a residency inside of a chimney to get this color!
Anyway it plays and sounds incredible, and it is a looker. Not for sale!!!
Thanks everyone

Hi everyone,
Time is coming for me to get new strings. In the last 6 years I've been alternating between Sonores J-Roque (2020) and Helix (2021), Chorda CH or Oliv G, with sometimes old Spirocore weich 3/4 on E and A. I'm looking for a set that would provide the same quick attack of the Spiros, without chocking my instrument that seems to like the low tension of the Gensslers, and ideally that could last a long time. I play mostly pizz but often practice with the bow (I don't need an "orchestral" bow tone), acoustic volume is a relevant matter for my choice. My bass is a 3/4 with 105 cm string length with a pleasant "midrange" presence, so dark strings seem to match it quiet well.

I've been hesitating between Perpetuals Stark, Tempera Oak (or Hybrid?) and Genssler Corax 2026, anyone had a chance to compare these? How long do the Perpetuals tend to last?

This is a recent live with Helix E/A, J-Roque D, Chorda CH G, I like this set up very much but I feel the old strings start to loose some harmonic content and get lost in loud situations:

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Thank you all in advance!

E

I am lost. There is no visible serial number on the head stock or plate as expected. I think its very early 1994. I am so confused, and tired. I hope someone will give me some better results than Google. Thank you for your attention.

(First let me start with stating that I am not a native english speaker)

With the risk of getting flamed:

This is not intended as a digital vs analog rant!

I get why people „are going ampless”. I have been crafting „my sound” using pedals for more than 2 decades. I have done this to not be at the mercy of a certain amp or cab, being able to play on any stage, thu any amp or even without an amp….. all before ever using IEM.
I have done this by using a few analog pedals: comp, Tech21 VT, Aguilar Tonehammer, Lehle/RMI Basswitch IQ/DI, Empress Para EQ, …… When I needed a second sound (pick or overdrive) I have added an EQ or an overdrive pedal) etc…

What am I trying to say?
a clear DI vs speaker signal: the DI is almost always the „better” signal for a live mix. Meaning very often a clear DI cuts better and a miked speaker is an additional bonus. That is why a sound person prefers a „pre EQ DI” as opposed to a POST EQ DI from an amp, eq’ed for stage acoustics.
Now substitute IR for speaker and you have the same issues in your DI feed.

A „clear” DI signal I understand can have some comp, light saturation and or light eq HPF/LPF, and effects like Chorus, Filter, Octaver, Delay, ….) but no excessive boost or cuts.

There was a time when I heavily relied an the TwoNotes CabM+ (digital power amp and cab simulator). This lead to some heavy eq’ing, BECAUSE I could which meant some heard work for the sound tech to get a decent clear, defined (not necessarily„clean”) sound to work in the mix.

I think going ampless with some digital solution is very hard as there are too many options available, namely ampsims, IR…… that are giving the foh and monitor guy a hard time and by this will not satisfy anyone on stage either.

When only 2 or 3 sounds are needed, a few analog pedals will be easier and cheaper.

Besides his acting career, he had a separate sort-of hit with this…
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I had recently got a nice 1993 Stingray 5 and its frets had some oxidation.
So I ordered a set of Hosco fret erasers and after watching a couple of YT tutorials, I tried to polish the frets myself, having absolutely no previous experience at all.

I used masking tape to protect the fingerboard and I started polishing with #150 grade and worked my way up to #1000, using two different angles, one for the top of the frets and a one for the sides:

You can also see the difference between the untreated frets and the polished ones.
Overall I'm really happy with the result, this is a nice tool, easy to use if you protect the fingerboard properly (the masking tape worked great). Needless to say, my bass looks and feels amazing now.
I also used them to fix some fret ends issues on my other bass, a Japanese Fender Jazz, and they did the job, although there are probably better tools for that.

Leland shares some lovely memories of Dolly. The world could never have enough Dollys.

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My version of a joke I heard years ago and only sort of remember.

Waylon Jennings, Johnny Cash, Merle Haggard and Willie Nelson are sitting around talking about Dolly Parton.

Waylon says, "the way that girl can fingerpick that guitar so fast with those long fingernails, all dressed up like that. Amazing."

Johnny says, "and the way she can twist her voice and give it that little bit of cry, oh my goodness. Goes right to my heart."

Merle says, "and the stories she tells and regular people and their struggles, I love that about Dolly."

Willie looks up and says "anybody got any rolling papers?"

Origin and/or why?

I am looking at building a cab (2x18) for G0 tuning and looking at driver specs and cab design. I know I don't need to get all the way down to 25hz but how far down should I shoot for?

Hi all,

I'm putting together a new rig:

Preamps: Origin Effects Super Vintage and '64 Black Panel.
Cab: Barefaced Three10T.

That leaves open the spot for a power amp. Since I never used a power amp before I'd love some recommendations and maybe some do's and don'ts.
This will become my main rig so it will move from the house to the rehearsal space, and to shows.

What would you guys recommend?

As you probably already know, Warmoth doesn't rout their control cavities deep enough to use the regular pots you'd use for anyone else's rear-routed body. They leave the top too thick for the threaded shaft to go all the way thru and catch the nut on the other side. Don't ask me why- this is Assembly 101 level stuff, and they should have a lawyer on staff to handle any suits from idiots who can't drill thru a top thin enough to mount pots without cracking the wood.

So, what are y'all using for long shaft pots? I have a specific issue that's keeping my build delayed. I'll be using a Villex Classic (the one with four wires, red, white, black, and unshielded) piclup that came with a 50K audio taper pot for the mid control. But the pot is a mini, and I can't find any long shaft 50K pots. Is there a way to solder something (a capacitor, resistor, whatever) onto a 100k pot or a 25K pot (which I think are both available in long shaft) to turn it into a 50K pot? Seems I've read something about that.

So I'm looking for a workaround to incomplete control cavity routing. Anyone got a source for 50K pots with a long threaded shaft?

Took some readings at tonight's gig and our band is averaging almost 120 decibels and peaking at 130 dB! Time to get some higher dB filters for my custom made earplugs, lol.

I usually use this in my out music collaborations . No not for jazz or blues. Just soundscapes and at best Scandinavian ECM inspired sound. I have simplified it 2 3 pedals for tone shaping and one pedal that can play you. SOMA labs Drifting Memory Station. It has a regular and rhythmic mode which is like a looper but only one program is regular.

Anyway I preserved the acoustic sound of my upright and goes to 1 channel of the AI amp. Then the piezo goes to a splitter . One loop goes to Artifakt for glitz, low-fi etc, then to the Meris for synth and its time effects That becomes an insert loop to the H90 where I usually run parallel but sometimes series. The insert loop and routing on the H90 is one of its relatively unknown superpower.

And then I run that into the COSMOS. Sometimes I may have to bring a second amp but in most cases, the mix knob on the Cosmos is enough

The H90 also has performance mode and it’s another cool feature. Lastly the Enzo is also connected to an expression pedal

Anyway if you are into this kind of music or sound design in live performance, Share your pedalboard setup

I use it also with bass guitars and my Acoustic baritone and saxophone.

My collaborators are equally out there and intuitive. The percussionist for sure as well as prepared pianos. Yeah can’t gig with this outside certain performance spaces and galleries and private jam or recording sessions

Looking forward to your setup

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I am seeing this Saturday!