I can't abide flat wound strings either. But it's got to be a matter of taste.

I use Rotosound Swing Bass 45-105s or Elite* roundwounds (same gauge), with double ball ends for the Hohner Jazz bass. This is because I want to have a really bright but deep sound. In years of gigging a few times a week I can honestly say that I only ever changed a set of strings after either one of them broke or if the sound became dull - both of which events were rare. I might change them if I was doing some recording, but generally it was not necessary. I haven't played in anger for 10 years now and still have the same sets of strings on both basses that I had when I was last on stage. They still sound and look bright - but I do give them a good rub down with a decent duster or lint free cloth at the end of every playing session and South West France is mostly warm and dry

Six string guitars, on the other hand . . . many changes of strings, and at least once every six months. They just don't last. I've never really settled on a brand for them, just the gauge - 09s.

*Looks like your hero Norman Watt-Roy uses Elites

Fender Mustang lllâ,,¢ V1 Review



What do you get?

Amplifier:

100W, 1x 12" Celestionâ,,¢ G12T-100 Speaker, 8 Ohms, 1 channel with 100 presets.
Controls: gain, volume, treble, middle, bass, reverb, master, data wheel, soft keys for amp select, stomp edit, modulation edit, delay edit, reverb edit, utility, save, exit, and tap/tuner.
12 amp models* (with editable cabinet emulations as well as all amplifier parameters): '57 Deluxeâ,,¢, '59 Bassman®, '57 Champ®, '65 Deluxe Reverb®, '65 Princeton®, '65 Twin Reverb®, Super-Sonicâ,,¢, British '60s, British '70s, British '80s, American '90s, Metal 2000.
7 stomp effects*: Overdrive, Fixed Wah, Touch Wah, Fuzz, Fuzz Touch Wah, Compressor, Simple Compressor.
11 modulation effects*: Sine Chorus, Triangle Chorus, Sine Flanger, Triangle Flanger, Vibratone, Vintage Tremolo, Sine Tremolo, Ring Modulator, Step Filter, Phaser, Pitch Shifter.
9 delay effects*: Mono Delay, Mono Echo Filter, Stereo Echo Filter, Multitap Delay, Ping Pong Delay, Ducking Delay, Reverse Delay, Tape Delay, Stereo Tape Delay.
10 reverb effects*: Small Hall, Large Hall, Small Room, Large Room, Small Plate, Large Plate, Ambient, Arena, Fender '63 Spring Reverb, Fender '65 Spring Reverb.
*All of the above are fully editable

Effects loop, 2-button footswitch.

   

Illuminated LCD on top panel

 

*please note that the 'basic clean' preset at 00 in the picture above is one I created - just a '65 Twin straight through.

Aux input, headphone output (mini-jack, jack doubles as speaker emulated line out), speaker emulated USB out.

Dimensions: 45.1 x 52.1 x 27.3cm
(H x W x D).
Weight: 16.3kg.

Ableton® Live Lite 8 Fender® Edition studio-quality recording software compatible with Mustang USB recording output; AmpliTube® Fender® LE edition with free Fender® FUSEeditor/librarian software for Mac and PC


Does it work?
Hell yes. Frankly amazing value and so capable. Loud as you like with an SPL: C (music) weighting, flat out before distortion, at 1 metre - 126db + (that's as loud as my meter will measure). Maxing out probably around 130db. I wore ear defenders to conduct the test. This is one loud amplifier, which would explain why I have never turned the master volume up above 3 in my practice room.

The tuner is fast and accurate.

Editing parameters is easy and easier still with the Fender Fuseâ,,¢ software installed on your PC.

Being a Fender there is naturally a tendency to a bright default sound; some may not like this, but I regard it as a basic underpinning; the foundation on which the other sounds are built which needs to be as pure as possible. The open backed cabinet contributes to this clarity and does result in there not being a thunderous bottom end, but there is enough grunt there for the heavier models.



There are some dubious choices amongst the factory presets (every manufacturer is guilty of this in my experience) and they are arranged in what seems an illogical way, with screaming metal presets adjacent to clean and gentle sounds. Not much of a problem as they can all be easily moved around to suit. I have seen comments on various YouTube demos to the effect that the heavier distorted sounds are all very similar; this is, however, not the case. Used with both a Squier Affinity HSS Strat, Antoria ES335, and a Harley Benton 450L Vintage (Les Paul copy) the sounds are all distinctly different. That said, I feel that someone into more extreme metal sounds might struggle a bit to find the sounds they are after.

I only have the included 2 button footswitch â€" the optional 4 button footswitch has programmable functions, puts the tuner on the floor in front of you, can be used together with the 2 button footswitch and is not very expensive â€" a must buy that is on my 'saving up' list.

The quality of the modelling is superb in the case of the Fender models, and not at all bad for the others. I would have liked to have a Mesa Boogieâ,,¢ model in there â€" this is my preferred heavier sound which fortunately my Zoom G3Xâ,,¢ has available. In all cases the sensitivity of the modelling to how you play the guitar is outstanding.

Now, to the software:
I will have to be brief here, as I have not used the Ableton Liteâ,,¢ installation at all, but I have no reason to suppose it won't do what it says on the tin. I am, therefore, unable to comment on the USB output modelling.

The Fender Fuseâ,,¢ site is not the best or fastest in the world, but there is a community who share modified presets for you to play with, and the local Fuseâ,,¢ software enables you to edit the amplifier parameters from your computer including parameters that are not accessible from the controls on the amplifier. It's quite fun to watch the graphical interface dials move in sync with the controls on the top panel. Childish maybe, I can be easily amused

Good points:
See above, just about everything really.

Bad points:
The 'manual' provided is just a quick start guide and not very helpful, you have to go to the Fender Fuseâ,,¢ site to download the full manual.

There is no balanced DI output, just the use of the mini headphone socket. However, there is the USB output also with speaker emulation which I would use in preference anyway.

The auxiliary input is -13db. When you add to that the EU's regulation nobbling of the output volume on MP3 players you have a very quiet backing track. I actually use the aux input on my practice bass amp if I want to play along with anything on the MP3 player, it's much louder.

There are no protective corners, so if you plan to gig it you would need to add some or be ever so careful lugging it about.

Summary:
I can't praise this amplifier highly enough. It is incredibly versatile, capable of incredible volume, doesn't weigh much and is small enough to be extremely portable. It is probably more ideally matched to a Fenderâ,,¢ group manufactured guitar than other brands; that said I use it with two twin humbucker guitars as well as the Squier Affinity HSS Stratocaster.



At this price it scores 11/10 for value for money. But if you are death metal fan, you might want to look elsewhere for your ideal modelling amplifier.

NB - V2 version of the Mustang 3 has 18 amp models, and an expanded stomp box section with more overdrive models including Big Fuzz, Green Screamer and Intelligent Pitch Shifting. And no, I can't afford to upgrade. Dang.

There are still some examples of the V1 Mustang lll in the shops at a slightly lower price than the newer V2, the latter being more capable (according to the specifications) of producing more convincing heavier and distorted sounds. Depending upon your preferences it may or may not be worth spending the extra for these features.

Glad you found my thoughts on this helpful Mick. I don't think you'd be disappointed if you did go for it.

I'll try to get around to doing reviews of the Mustang 3, Zoom G3X, and the Harley Benton LP450 Vintage when I can - lots of gardening type stuff to do at the moment

Squier Affinity HSS Stratocaster Bundle Review
Like THIS THIS THIS or THIS
What's in the box?
Guitar:   Alder body
   Maple neck with rosewood fretboard
   21 frets
   2 single coil pickups
   1 humbucker pickup
   5 position selector switch
Frontman 15G amplifier with mains lead
Fender branded strap
Fender branded lightweight gig bag
Fender branded tuner
Fender branded 3 metre jack to jack lead
Two Fender picks
DVD - Getting Started on Guitar â€" The First Step
Allen key
Spare tremelo spring

Guitar:
Summary: I couldn't be happier with this guitar. A quick play in the shop was enough to persuade me that my â,¬200 would be well spent. As I already owned a Fender Mustang 3 I wasn't really interested in the amplifier, but more of that later. The guitar itself is well finished in a cherry red and is blemish free, as is the varnishing on the neck. The chrome hardware looks and feels relatively cheap, but is quite functional, with the exception of the machine heads which seem thickly chromed and have a good positive action. The guitar holds its tuning well. The strings are presumably Fender, and are light gauge, probably 008s. I have not tried the tremelo at all, so cannot comment on how the guitar responds to its use, ie does it stay in tune. I have been obeying the dictum for tyro guitarists of 'avoid the Floyd'.

Plus points:
So easy to play. This is function of the light standard strings and what is a superb neck and fretboard for a guitar of this price. Classic Fender clean, detailed and bright sound from the two single coils and a more distorted sound from the humbucker, although the latter does not pump up the output in the same way it does on a Yamaha Pacifica for example, and it is also noticeably quieter than either of the humbuckers on my Antoria ES335. Low output is I suspect a characteristic of budget guitars; my Les Paul copy isn't very loud either. This means that although you do not get a wall of sound from  switching to the humbucker it is in better balance with the two single coils and the very positive five position selector switch can be swung back and forth with no large variation in volume, but a fairly wide range of tones.

The body is solid  alder, which albeit not from North America (my example was manufactured in Indonesia) does give that characteristic Fender sound, one which I was not sure I would like that much, but having become accustomed to it I currently prefer it to the thicker tones from the ES335 and my Wilkinson pickup equiped Les Paul (Harley Benton 450L Vintage) copy.

The fretboard on my example is rosewood, which I prefer. I suspect that the sound might be overbearingly bright if the varnished fretboard option is chosen instead.

Minus Points:
The built down to a price hardware. The jack socket on mine came loose within a few weeks, and looks a likely candidate for early replacement with something more up to the job. But that really is my only criticism.

Amplifier:
Not a huge amount to say about this, other than it has found a home in my study for occasional use. It looks workmanlike, but again it was obviously built down to a price as the loud 'click' whenever it is turned off testifies.  It is nevertheless gamely loud, very definitely has the clean detailed Fender sound without the drive engaged, and what is more the drive circuit is the best I have heard on such a bargain basement small amplifier. When you add to that the headphone socket (1/4”), the stereo RCA input for your MP3/CD player to play along with, and the fact that it is pretty much free with the guitar, you have a bargain. After I started using this I sold my old 20w practice amp, because of the two this was easily the best.

Accessories:
The good:
The DVD â€" I found this a very useful supplement to my 'larn yousel guitar' manuals.
The clip on type tuner is a joy to use and very accurate as well as very portable.
The 3 metre lead â€" above average quality, nicely made

The so so:
The picks are OK, a bit on the thin side as befits the light strings
The gig bag is a bit on the thin and insubstantial side, OK for keeping the dust off, but I would not want to transport the guitar in it â€" I'd use something like the Thomann gig bag instead. I have these in two different sizes for my ES335 and HB 450 Vintage and they are excellent, both in terms of quality and value.

The dreadful:
The strap is thin with what are probably imitation leather ends. In any event, my strap lasted less than three weeks before it snapped. Luckily the Strat is not a particularly heavy guitar and I managed to catch it on the way down. I went back to the shop and was given a much stronger, if rather unattractively camouflage patterned, non Fender replacement. I have now replaced the strap with the old one from my ES335 which is much more sturdy. The camo strap is on the acoustic now.

OK, now I've been really naughty. Been watching a few YouTube reviews . . .

I went to the music shop and playedâ,,¢ a few different models and then acquired a Squier Affinity HSS Strat in red with a black scratch plate. After a bit of fiddling with the action and only having to adjust the intonation on one string I'm as happy as an MP with a successful second home expenses claim.

The hardware is obviously not top notch, but nevertheless it sounds and, more importantly for a guitarist in training such as myself, plays beautifully. I've not bothered with the tremolo arm, following the oft quoted advice to 'avoid the Floyd'.

The packaged 15w Frontman amp is quite stunning for the money too, typically Fender clean and very bright with the controls set to neutral. Before I'd plugged it in I was going to sell it straight away on eBay, but after I tried it I changed my mind. At the moment I have installed it in the study for occasional use.

All in all I would definitely recommend the Affinity starter pack to any budding strummer.

It's Friday.

A nice man from UPS turned up with my new toy, thus giving me hours of future fun trying to work out how to use it properly. 

I've already sussed that I have to now save up for a guitar with single coil pickups, just for a bit more variety - the twin humbuckers on the ES335 are seriously driving. Sounds great though, the metal sounds are VERY metal, but the clean sounds are superb. Lots of programming and customisation coming up methinks.

Well, I did want the 2, but after a bit more research I have set upon the 3, on account of it only being a little bit more expensive, having a few more features, coming with the basic footswitch and having persuaded SWMBO to sub me for the few bob that I didn't quite have in the piggy bank. Not too sure about the open back, but it won't matter at the levels I'll be playing at.

I've also sorted the intonation issue on the Antoria ES335 using only a screwdriver and some cunning (well it is rather old now).

I don't have to buy a bass practice amp for the time being as I 'found' a 2x8" 200w bass cab that I forgot I had, and after blowing the dust off of the 200W Trace I now have a smallish bass rig that's plenty oomphy and loud enough for the house.

Now to decide on a guitar to replace/sub the Antoria. I have in mind a Squier Classic Vibe 50's Strat, or maybe an Epiphone Les Paul of some description. But that's for a lot later.

Thanks Mick - yep I have watched the Andertons' video a few times

And now the big EU online music store, Thomann, is out of stock with no replenishment date. The local music shop is very reasonable on prices too (well for amps and guitars anyway, just don't buy any leads of strings there!), but they sold their last one before Christmas and don't know when they'll get any more either. They've got a 1 and a 3, but I want the 2 . . .

Sorry, I had been thinking about it for so long that it seemed obvious to me . . must try to communicate better.

My budget for guitar stuff (excluding the bass amp) is about â,¬400, and I will only be using the stuff for learning how to play and not for any kind of performance. Hence my suggestions of the amps etc I had looked at as being suitable to my requirements.

TBH I am sliding towards a Fender Mustang 2 and a Zoom pedal of some description. I think that my current guitars are good enough and that I might save up a tad more to get a better electric at some point in the (distant) future.

OK,

So I have decided upon my new bass practice amp - Warwick BC40, but as a budding six string player my question to you more experienced chaps out there is this:

Modelling amp (Vox VT40+, Line 6 IV, Fender Mustang II) or clean amp (Behringer 30VTX, Fender Frontman 25, Stagg 40) and modelling pedal like a Vox Stompad?

My current guitar amp is a cheap as chips Storm 20 with a farty 8 inch speaker and a distortion circuit that only does anything faintly useful when turned up to eleven.

My guitars are an Antoria ES335 copy and a Lidl Electro Acoustic (which sounds and plays unbelievably well considering the source and the price). The little Storm actually sounds really good with the electro/acoustic running through it, but doesn't do the Antoria any favours, especially on the bridge pickup.

I have to admit to a tendency towards the Fender Mustang because it does clean really well, and I might buy a Squier Affinity Strat to muck about with too. If I do that the bass practice amp will have to wait, but no problem, I've got a basement full of Traces

Quote from: PLRS Technical Crew on December 02, 2012, 04:06:56 PM
Their is another answer, but in itself it creates a problem ..... Technically the answer is correct, but as the amplifier and the cab handle frequency's lower than normal acceptable volume levels, and the octaves are lower, the Bass is almost always driven at four / six times the power of other instruments.  Somewhat overpowering to all members of the band, as well as the "listeners" resulting in the overall sound becoming "Muddy" due to the overpowering Bass notes.  therefore you need a bass cab that is extremely well made to stop it vibrating itself to destruction and a decent driver to accomplish an acceptable sound at lower levels. Few band's accomplish this which makes a performance difficult for the entire band to be happy with the result.

A basic response: the reason that bass requires more power is two fold - firstly the drivers need to physically move a lot more air requiring a much larger voice coil, and secondly the human ear is far more sensitive to mid range sounds. In the most recent band I played in, two 100w Marshall rigs and one of the world's loudest drummers were pretty successfully balanced in smaller venues by a 200w Trace and a Peavey 4x10 or 2x Sidewinder 1x15 cabs, although I usually used a Peavey 400w (with addition Peavey 2x10) or Trace 500w (with the Sidewinders) for larger venues below 'get bigger a PA' size. At every venue the bass and snare drums as well as the two guitars were fed through the 400w PA to aid sound distribution and guitar stereo effects. Obv the vocals to

If you are finding that the bass (I assume guitar) that you are amplifying is making the live sound muddy then you are doing one or possibly up three basic things wrong. Firstly the bass drivers could be PA drivers, which have no dynamic range above 150-200hz and so higher frequencies (anything above the A string on bass guitar) and essential harmonics are not being reproduced, as well as only producing the bass harmonics on higher strings. Some bass guitar enclosures have HF drivers for slap players or heavy growling rock sounds. Secondly the equalisation on the bass could be way too flat creating essentially the same problem, and thirdly bass tends to be omni directional, whereas the sounds from midrange/high instruments (guitars, brass etc) are highly directional. Make sure that there is sufficient direct coverage of the audience with midrange and HF drivers.

I gave up the two wheeled thing after about a million miles and an argument with some armco, which I lost 

Yesterday I decided to try to find a chord dictionary for my Android fondleslab.

So I went on to the playstore and did a quick search. I went for the free version of CHORD!

Obviously I have only had it to play with for 24 hours, but it is impressing me. I didn't buy the full version because even playing the standard B fingering is proving a bit of a struggle at the moment. 

Double bass, school orchestra, then folk and jazz groups, then rock. The change from double bass to bass guitar came in the middle of the jazz bit.

Hi,

I'm Howard, retired old f*rt living in rural France.

I'm a bass player, never played a 6 string until now, although I got a folk guitar for Christmas last year and I am making occasional forays into trying to play it.

I've been playing since I was a much smaller and younger person, some 40 odd years. I had a few stabs at going pro in the 80s but nothing much came of that apart from a bit of touring and recording. I then moved on to a pub band, which was a lot of fun and kept me largely out of mischief for quite a number of years. I also had an 8 track studio in my basement which was used both for the pub band and some other local bands to record demos. One band even put a couple of singles and one album out that were recorded there.

I play Hohner active basses through one of two Trace Elliot heads into two 1x15 Sidewinder loaded ported cabinets.  I used to use Peavey stuff, which I still rate very highly, but the 4x10 was a bit big and heavy and I replaced my long suffering head with a Trace when it got too tired. The Hohners replaced a Rickenbacker 4003 and a Status Graphite, both nice to play but too heavy and frankly they just didn't sound as good to me.

I haven't played in public for three years, and have no desire to do so again - for one thing the tinnitus is not getting any better.