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I’ve received another update from Jon. The neck now has frets and is looking rather fabulous....

I'd knock the idea of "democracy" on head - it's your band and your vision. You want a benevolent dictatorship, where others are encouraged to make suggestions, but you're making the final decisions. One of the problems with democracy is that people don't always know what they want. There's often a difference between "music I like to listen to" and "music I like to perform" - until they're asked to learn it, folks don't necessarily realise that a song actually has some really fun guitar parts etc. And some songs just come alive the first time you try them out as a band, even though the original's nothing special. I can't stand most 80s music, but I'd still rather see an 80s cover band with a coherent setlist and who've obviously put some effort in, instead of a generic "bit of everything" act!

Altho i started a new cab day topic i thought i would give this a brief update too. Went with the TT800 and the 210 and 115 cabs. TT800 wont arrive till June and using Mpulse on exact same settings as with my PH212 cab. The 115 cab sounds very similar to the PH212 tone. The 210 has same depth but the mids are now clearer. Agedhorse told me the Mpulse amp had a mid range scoop and that is probably why the 115 cab doesn't sound as clear in the mid range. He said i should boost the mids a touch and lo and behold he was spot on the 115 cab does produce that clear mid tone but not quite as good as the 210 cab on same amp settings. Overall i now feel i have a full range bass rig and 1st rehearsals with the new cabs will be next Sunday at a 6hr session. I'm really impressed with how much depth these cabs have compared to other lightweight cabs i've tried and at circa 19-20Kg each its an easy one-handed lift for each cab. As always i appreciate everyone's help and advice and allowing me to understand the subtle differences with the cabs. I'm happy i've made the right choice and i'd happily gig with either the 115 or 210 on its own. Dave

So I got a pretty big amount of money back from my taxes and decided to invest in a decent double bass. After trying out a few instruments I knew what I was looking for and found it in this Dutch built, all solid 3/4 bass, built by luthier Léon Christiaens in 1991. Feels great, adjustable bridge, in an amazing condition...lovely. Absolutely lovely. IMG_4599.MOV

That's possible, and you can't assume that any design was arrived at by scientific means. Marketing departments have a habit of specifying target dimensions, driver sizes and wattage ratings with little regard to how well it works, because they're interested in how it will sell. For instance, at one time the Kappa Pro Ten was a popular driver in 'boutique' cabs, mainly as its 500 watt rating could be advertised as a step up from the usual. However, it was designed for PA midbass/midrange, so with electric bass it worked no better than a 250w rated Beta 10 that cost and weighed half as much.

Decision almost made...love these BB5000a in purple. Eo, while not seen on a 4 string BB, is roughly era correct.

Ask yourself, what would Steve Harris do?

Yes, have been in a good quality covers band for 5 years now. We describe it as "rock and soul" but really it's an Irish stew of all sorts of songs with no real theme and some really bizarre ones creeping in more and more. Due to personal circumstances for a handful of the group the enthusiasm is waning, we are all good mates but there are flaws in the thinking behind the band. Health issues also might force the singer to quit which would be awful. Regardless, I've had my eye on doing something a bit different for a while. When I got the 80s band started the guitarist was very different, not a "blues w*nker" but someone who can really play and loves a bit of electro synth stuff to the point he's probably just as good a synth player as guitarist. His view is "nobody wants to hear another flipping guitar solo, they just want to dance" and he plays great big delay and chorus sounding stuff that sounds fantastic. The drummer is rock solid and a really nice easy going chap (odd, I know). The problem has been bringing in the singer the guitarist knows from an old band. She's very good, she's gigged a lot, if we stuck to a theme and styled it right (I mean dress the part, create the right visuals for online advertising, the right band name) I think it could be a solid band that could pick and choose its local gigs. I just fear being another "three middle aged blokes and a girl singer do random songs off Radio 2" which you see everywhere and are usually disappointing. Whereas "three middle aged blokes dressed like Miami Vice with an awesome girl singer play 80s sing and dance along songs" is a much more appealing proposition for an audience and for someone booking gigs. That's my view at least.

These Folks were from Derby. Got to play on the same roster as them at gigs in the Derby/Burton area in the 80's. Great band probably not that well known.

Back to the Warmoth inspired look.

Next the dreaded binding. Swore I'd never do binding again but I'm either stupid or have memory loss, probably both. Binding was a disaster, again 🤣 Had something looking like a bass. Grain looked great, sadly overall look was too dark ☹️

It's like a cat attempting to scratch a blackboard while another cat pours petrol on it, and as he tries to strike a match both of them start sliding down a steepening scree slope made up of innumerable sharp pieces of slate. Meanwhile, someone else is recording that sound, and playing it back through a 70s Waltham cassette player which is mic-ed up and broadcast through a bank of Kay's catalogue guitar combos with slashed speaker cones. In other words, not good!

We suffered a night of that game. Of course, they neglected to let us in on their 'travel light' plan until we turned up, which made for some interesting conversations given that we'd been told to just bring breakables as usual. By showtime everyone was annoyed, the sound was terrible all night, the gig had hardly been promoted either so the crowd was thin, and the touring act went down like a brick. By contrast, we got one where we'd been told to bring everything and get there early, which seemed a bit suspect and we assumed meant another sneaky 'lend us all your gear' gig. We got there to find the headliners doing a meet-and-greet soundcheck with everything set up, then they vacated and we were invited to set up in front of their stuff and given a proper soundcheck. Turned out we were the only support band that night and we had an hour to fill on the main stage, instead of the 20min first support slot in the little room that we were expecting. That gig was a pleasure to play and the touring band were excellent!

Say what you want what you really really want 😁

So, during the break in lockdowns last autumn I advertised to start up an 80s band and recruited a drummer and a guitarist all bought in to the idea. We tried with me doing lead vocals but it's not my strong point and it restricts what songs can be played bass wise as they need to be playable and singable. Guitarist knows a singer so we agree to give her a go and then lockdown happens. We met up, and it went well, except we are now suddenly in the position of too many competing opinions. It's disappointing because there's an overriding movement to move away from 80s ranging from doing disco to mostly 80s but include some more recent songs. They're good songs but it's going off script somewhat and while I'm usually willing to try most things I've got my reservations, here's why: 1. A band that plays bits of this and bits of that is hard to market. I know because I've been in a few and am in one now and I can't succinctly describe it. Whereas "we play 80s pop" is easy for everyone to get their heads around and makes you a potential go to "get that 80s band back!" is better than "get that good band back... Can't remember which one they were" 2. I just think it's a bit sad when the band members are aged 37 to 50 and they're playing recent songs, it's like "here's one our kids enjoyed before they left for uni!"

Once I've mastered a 36" unlined fretless six-string Dingwall, there's no way I'll be seen in public with anything else 😁

I still use an 18" bass cab as a stand alone cab for some of my reggae gigs but prefer it with my 1x12" cab as it gives me a bit more detail whilst not detracting from the low end. I have used it like this on a few gigs and mainly on gigs without the bass in the PA.

I had a dig about & I found this from 1981 (!) Shows my gig wagon, decks, and more importantly (bottom right) a view of one of my twin18 & Vitavox boxes (the other boxes are some of the Tannoy 15's that I bought from the Blind Beggar pub) (why do we never take 'proper' pics?)

OK, back to BB topic... Before the last layers of lacquer...the Yamaha Logo 🙂

Have a look at the Ibanez Mikro bass range. They are much better ergonomically than those you have mentioned in my experience. The Mikros are short scale, lightweight with slim necks and a very comfortable body profile. Rounds are usually much easier to play because most flats (TI flats ££££ excluded) are higher tension and tougher for beginners. Just about every new bass will be supplied with an adequate set of roundwounds on it already to go.

I'm fed up with trying to be like everyone else. 🙂

Tips the scales at just over 6lbs. Set of La Bella double ballend tapes are on the way from Bass Direct. I do like that natural grain finish, might try this again. "Again" of course means no binding and it'll still have a peghead 😃

You don’t sustain the album sales that GB has in today’s world if you aren’t musically talented. There’s more than enough people ready to pounce and take you down. The fact that he was writing a soundtrack that defined a generation kind of says it all. You may not like him or his music - but his credentials stack up and are underpinned by his success.

You’re going to need to keep the jazz and get a MM to compliment it. As soon as you have the MM you’ll miss the J. 😊

The Spice girls were terrible. There was nothing remotely spicy about them I did quite like dirty spice the ginger one though. Music wise this was the beginning of the end next thing we now people were crediting Gary Barlow as musically talented.

A collection of Ska/Reggae/Dub Bass playing guides. Kicking off with the excellent Reggae Bass hub channel from@donstrumental that you should all subscribe to. (I hope none of the owners of these videos mind them being posted here - I assume it's okay as it's promoting your content but give a shout if not). 20 Reggae Basslines Medley: Creating Reggae Basslines Studio One style: 20 Studio One Reggae Basslines you should know: Play Reggae Bass like Flabba Holt: How to play Reggae Bass like Robbie Shakespeare: How to play Reggae Bass like Aston Familyman Barrett:

Don't use a 4 when one will do. Let's face it for most music you could get away with a single string. 2 at a push. You don't need 4 any more than you need 6, just what you are used to and what you want to use.

Because a Brownie Box camera can only do so much ...

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I don't know if these things still happen or if it was an early days thing, but I get the impression Ashdown would sometimes stick whatever driver was in stock into a combo rather than necessarily the one they designed and spec'd it with. Certainly my old Mag 200 tilt back combo in about '99 came with an Eminence driver that wasn't very well suited to the small sealed cab, rather than the custom spec Celestion they advertised and listed in the spec sheet.

@gobasserk, You're doing OK. When I was travelling I noticed that, no matter where in the world I was, most people could swear fluently in English... @Al Krow, I was watching some daytime telly a few years back with some English children (toddlers) playing with some Vietnamese children of the same age. All were getting on fantastically, laughing and playing. At the end, the interviewer asked one of the English children how she got on with the Vietnamese children when they didn't speak English to which she replied "...but she laughs in English". From the mouths of babes....

*gently clears throat*

There was a music shop nearby that had to close down last month. I was able to buy a new Markbass 210 Combo for 400 Euros. I loved the weight! Testest it with my Yamis... Disliked the sound, disconnectet the amp and played the cab with an Ashdown ABM600 and a Hartke and an old Warwick Profet 5.2. The difference was significant. The cab sounded better with all the not Markbass amps. Let's put it this way... I know how my basses sound because I am playing for example the 1000's for the last 20 years. Any digital amp sounds not like anaolog in an basicaly way. And I am not ok with the way digital amps change the sound of a bass in such a dramatic way. Others may be ok with that new sound, I want it like it always was 🙂

I think you’re right, have a theme and stick to it, offer something a bit different to the regular mix & match of the same songs in a different order.

Cheers @SumOne

IME WinISD isn't buggy. It has some idiosyncrasies, but they're mainly related to user experience with the program. HornResp is considerably more sophisticated, but it gives the same results. As for the cab volume, remember to deduct for the space taken up by the port. Using two non-identical cabs is always a crap shoot, no matter what their configuration.

I entered the Celestion Pulse 10 and the Sica driver into my modelling program and the Celestion performs marginally better in the 41-litre cab, but I'd persevere with the Sica rather than going out and buying a another driver. My software recommends a slightly longer port than @agedhorse. The standard length of the usual 100mm ports is 115mm. According to my software, that would tune your cab to around 52Hz, which would be fine.

Now THAT is a good looking neck, and I don't normally like maple boards - very nice!

Suddenly it was mid Feb and I'd been sitting on my backside for too long. Made a start. That's commitment , it was also the last time I remembered to take a photo.

End of 2019 I see a bass advertised that looks nice but discount it as it’s a 5 string. It’s also in the next village from where I work. So my first 5 string. Was really struggling with the preamp (to the point I was going to sell the bass) but liked it enough to try switching in a East Uni pre which transformed it. It just sounds great and for the same level as my Sadowsky metro sounds a lot louder - big wide warm low mids with a lot of harmonic richness coming from the bartolini pickups

Compressor misconceptions, interesting thread title but bass compression is a widely misunderstood subject. Unfortunately, a lot of these misunderstandings and misconceptions have appeared on Basschat over the years which only serve to further confuse an already widely misunderstood subject. And unfortunately, a lot of this nonsense is still available when searching the forum and through Google so is likely to perpetuate. My take on it is that some people assume a stomp box compressor is an effect, they expect something spectacular to happen when they engage it, or for something immediately obvious as you'd get from other effect types, filters, synths etc. When this doesn't happen the questions start which is fair enough or assumptions are made that the pedal serves no purpose. This is where, IMO the misconceptions start creeping in. Regardless, while not exactly glamorous compression is a very useful tool in much the same way that EQ is a useful tool. While it can be used as an effect that's not really its point. Possibly the most sagely advice I've seen on BC regarding compression was something along the lines of "don't think like a bass player when using it, think like a sound engineer". That's when it all makes sense. Do you need one? No, not really, but if it's going to help you sit better with the other instruments, why wouldn't you? Can you control your dynamics with your fingers? Yes. To a point. But depending on where you play the same note on the neck (e.g. G at 15th fret on the E string compared to an open G string) the same note can have hugely different dynamic energy levels. While you can play one louder or harder than the other a compressor will smooth these out so both notes will work in the mix despite their different harmonic densities. Compression kills my dynamics. Yes it can if you haven't set it up correctly. In the same way that a poorly EQ'd tone can make you sound awful. But when done right you retain your dynamics and still sit better in the mix. While compression takes a while to understand it's worth doing your homework to get a good understanding of how to get the best out of it. Many of us spend a good chunk of cash on gear chasing the sounds in our heads, we buy certain basses and amps to make us sound great, so why not use compression to help make you slot in alongside the other instruments you're playing with?

Ok, I just ran the numbers and I think you may have gone down a rabbit hole. If the internal dimensions of the box are really 41 liters, a 3" diameter port 2" deep is going to be fine at 100 watts RMS. If you go to a 4" diameter port, the depth will increase to 4" and you will increase the power handling to a little over 150 watts RMS (a better choice).

Did this in a covers band. that’s all I have to say about that.