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On skimming this thread it seems the main question here is if a dead drummer can dep for an 80 year old drummer? I can confirm that is not possible.

I’ve been meaning to try one of these for a while now, so after a 3 hour round trip yesterday I picked up a near mint one, it’s now got Labella double ball end flats on ,and a nice low action, in active mode it really drops some bass and has a great sound, it’s a lot more comfortable than I thought it would be , and I really like the neck and the headless top , overall I’m loving it 😊

Surley you can change it to: "Don't panic, this isn't because of you - you are a beautiful and valuable person and I love you, however at this time this thread is not available for anyone to look at, we're certainly not using this as an opportunity to discuss you behind your back, we wouldn't dream of collectively laughing at all of your short comings (and I do mean 'short'), we absolutely don't talk about how much we all just wish you'd leave and never come back, we would never do that to your face. So please, sit back, relax, read a nice book and stop being such a dang snowflake!"

Is it not a hard gig to dep? It's not just about playing the parts. They need someone who can not only play the parts but also cop the right feel, who can perform at a high level in front of thousands of people every night, and can handle the pressures of touring at that level. That's why they've chosen one of the best in the business. No offence to Neil Peart, but I think he'd have struggled on the Stones gig.

I joined my main originals band following another bassist's departure, and started by playing the songs as they were. Over time, and as the band gelled, the bass lines gradually became my own, other than a few fills which had really stood out as important parts of the songs. Same with the bass sound; the original chap was a fingers player, I'm almost always pick, but I started with a more finger-oriented sound (tho not actually with fingers) and progressed towards my own sound. No-one complained (I'd have listened if they did), and now my sound and lines are part of the band. We were all old friends (including the original bassist), so no-one was going to compare/judge us directly, and given it's been thirteen years or so, they've probably got used it me by now... 😁

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Now that the monsters are mostly asleep... So, the colour is absolutely impossible to capture in photos. It's white, slightly creamy, and with pearl coat before clear. It's got a subtle mint hue that I can't seem to photograph. Fretboard is very dry, but looks like a very nice piece of rosewood. I'll oil it in a couple of days when trying some other strings. It's lighter than my recent Mendel, but balances better. So far, I'm happy.

The BB 414 from BD arrived and apart from a dent on the bottom edge next to the input jack, it is remarkably good condition for a 11 year old bass. And everything works which is a bonus! Stuck on a set of old GHS flats and it sounds really good. For the price of a Squier Affinity, I have a good quality bass that looks good.

..can I just point out that Neil's kit looks a little bit nervous on that YouTube thumbnail:

I’m firing up the database editor with renewed enthusiasm 😆

I have one, I love it... and after being unavailable for many months it looks like it's back: https://www.thomann.de/gb/harley_benton_mb_5_sbk_deluxe_series.htm

31st July 2021 first gig since Feb 2020. During lockdown we decided...due to age, bad backs etc to go digital & no backline or monitors. We are a 3 piece ( guitar, bass & drums with two vocals) mainly doing 60's & 70's. We use Roland V drums which is a godsend for our ears and setting up time, so decided to go for a silent stage. We are big fans of RCF so invested in RCF M20X mixer, TT FoH active cabs & bass bin. I have been able to get a great & powerful bass sound in rehearsals at lowish levels & at the gig last Sat outdoors ( and in a hall with no audience ) it was excellent, ...so the risk and investment paid off all of the band were happy & the feedback from the audience was good a couple of musicians commented on the clarity, separation & hi fi sound..so the backline is gone (for this band anyway) And YES the guitarist amp etc is history...load cheers from BC members But what about monitors? they have gone to. We have used IEM's but did not like the ground level noise, sound quality, latency and "faf" We invested in a DACS Clarity headlite 3+ with upgraded power channels (1U)...basically a studio headphone amp. This is individually fed from the desk and each band member has his own mix & volume control via desk, ipad or phone...stereo jack cable from headphone amp to belt clip with stereo socket...plug in you inears (at rehearsals, headphones) and no noise...clear real time hi fi mix. We did not need as much volume in our ears and we sang better (pitch and harmony blend)...it took a lot of practice but wwe are we are hooked and cannot go back We have a comms channel to band members only via momentary pedal ..and a shotgun mic to pickup the crowd when we stop making a racket! I am sharing this as we have never had such a great FoH sound, foldback & clarity of how we are playing together...it was quicker to set up and pack...horah and we were not tired & our ears did not ring on the way home....I hope it inspires you..to think different...it took a lot of incremental tests and different gear (desks, headphone amps, In ears, headphones, footswitches etc) Some pic's during testing...NOTE: the desk EQ is sooo good, I have got rid of the sansamp RBI Cant wait for the next gig 15th Aug

An update! I received the transformer from Webb in Taiwan. They were amazing which is more can be said for Gear4Music, Eden or Marshall. Anyway it arrived last week but I've only just got around to fitting it but it was perfect plug and play and even better they only charged £120 including shipping. On plugging it in I found it sounded even better than I thought it might. Snappy, crispy, lots of attack & punch and plenty of headroom. It's just like like old Eden World tour amps but with tube control which I reckon is even better. Happy days thanks to a transformer maker in Taiwan!!

https://www.ebay.co.uk/itm/165002019707?hash=item266ae3037b%3Ag%3AyBEAAOSwg1lhC5Qs&LH_ItemCondition=3000

Ironically, I am one of the few here who has never been in Balls Deep. Perhaps someone will be along shortly to let us know they recently have.

I hope people building their first cabs at home aren't being put off having a go at building by this It's great to see a range of opinions though. You'll see different designers have differing opinions and the truth is many of us have 'go to' ideas we tend to repeat. The reality is that all speaker cab design is a matter of balancing differing concerns. In the case of port designs it is pretty much impossible to design a really compact high power cab with deep bass that won't have higher port velocities than you'd like. For high power, high excursion speakers you need a wider port to allow it to 'breathe'. Increasing port area for a particular tuning means the port needs to be longer and that both increases the volume of the port and takes it closer to the back of the cab. If you are aiming to have a compact cab then a port of several litres is obviously something to avoid. so you have to compromise. Equally if you have a small cab then the places to put a large port are limited, more compromise. Just look at the RCF PA cabs; generally recognised to be one of the best sounding units available at the moment. Every spare bit of space at the front is either port or speaker. This is just the port of course, there are other tweaks and compromises to be made: weight, portability, target response and so on. then there are practical considerations like the cost of production for commercial designs and the availability of parts for the home builder. If you buy a cab then you are stuck with the compromises chosen for you, if you self build you can add your own tweaks or accept the tried and tested designs so you have a bit more choice. You can see the difference in approach even in this cab. I designed the original box which had a 12" speaker and two smaller ports. That design choice was based upon having a lot of 68mm pipe to hand and the availability of a 68mm hole saw at a price home builders could afford. I check them but I'm not particularly concerned about port velocities as I rarely if ever find they are a problem with bass guitar. My design does chuff with test signals but has never made unpleasant noises with me at gigs (apart from my playing of course) even though it has a 12" driver with greater excursion and power handling. Stevie chose the most widely available and affordable ready made port and that won't exceed unacceptable port velocities under any conditions within the pass band. It's on the big side for a single 10 but it fits and it works. The tuning isn't an issue as that was done by measuring after the cab was built.

Hard to tell what is just usual bants vs badge hunting 'please like this' bants. I left all social media because of the ceaseless drivel that people spout to get their precious 'likes'. Let's hope this new world order of badges doesn't leave us in a similar situation! The horrid stench of desperation is beginning to seep into the nostrils!

Well there you go, get into OT, talk some bollocks and get into some arguments, and you'll be unbanned

Just had another go at trying to capture the colour

Good lord, 292 points until my next rank. That's quite a lot to get enthusiastic about. I'd better start posting a load of absolute rubbish. Oh wait ...

We could. You'd still be wrong at the end of it, though 😄

Trans: It's not you, it's me. But really it's you.

100% not.

I would hate to hear Yngwie Malmsteens version of Albatross!!

I think you're wrong. They'll have chosen the dep very carefully. Neil P (bless him) certainly couldn't have done it, so in that sense it is hard to dep for Charlie.

Had my old mag 810 for a while over the years it turned into more of a 310 so rather that switch the speakers I decided to do something fun and turn it into a 215! first test run of the new celestial BN15 400x speakers is next week can wait!!

Thats right, but Neil Peart was busy at the time.

Do you know I never noticed that. Luckily it nuzzled in perfectly....

Well, the amp has to be enormous. Or the numbers should have been in mm.

Once you are, please can you delete this thread?

Not seeing it here 😕

Very much this ↑ Jordan and Richards go back a long way. When Richards embarked on his first solo album Talk Is Cheap in 1987 he hired Steve Jordan as drummer, co-producer and co-songwriter. Anyone who might listen to that album will come away thinking that Jordan's approach to the project was basically a Charlie Watts feel with added seasoning. So, no-brainer really.

Only six months or so until we know, eh? 😄

Yep. To me the Stones sound is shambolic, for want of a better word. Keeping that feel without the whole thing falling apart is the real skill.

Every drummer is different and Charlie is no exception. The original Stones members insisted on Charlie being their drummer and Keith has said on numerous occasions "Charlies drumming is the bed I lie on" His style may be called simplistic but he swings like few others, his groove is bottomless and he knows when to push or pull the songs. Unique.

No. It's not desperation. It's fall-out from the DoI.

I've nothing against covers, or cover bands, but I realised a good few years ago that it wasn't for me. The same amount of energy invested in writing and tryting to develop a sound is much more satisfying to me (although getting paid is harder) For he last audition I did a few years ago I was given 5 complete tunes and a few half developed ideas, all either rehearsal recordings or rough home recordings. Not knowing how it would pan out I learned them note for note (the lines were pretty poor though), then I developed the 'what I would have done option'. I went into the room and gave them the choice... original, mine or both.

Yep, that’s what we’re trying to tell you…

My take on this would be do both. I was in this position 4 years ago when I joined my current band. During my audition I played it note for note on the first run through of the set, the band were clearly impressed that I could do this, then when I had that start of a relationship I asked if we could do a 2nd run through and said to them I can put a bit more of myself as a musician into this set.

Stick with what the previous player did, to start off with. You can add your own imprint on new material.

I'd learn them as they are, but keep in reserve some other ideas to bring out if you think it appropriate... They'd probably be impressed if you could just play their stuff straight off as it is, they might think "smart @rse" if you fiddle about with the bass parts too much to start with, it's very much a suss them out as you go really.

Yep. One thing Neil didn't do is swing.

@SpondonBassed @itu @TheGreek @Si600 many thanks for your feedback & support 🙂

I hear that thread was so good it's now going to be serialised by basschat. Even if you are a fully paid up basschat supporter you can only read it in monthly installments.

Surely the transition of power should be done via a democratic popular vote? I for one vote Mick Mason to run this site, Sansamps for everyone!!!