deepbass5

Thanks I'll have a look at that tomorrow,

Its difficult to say without hearing you, but can only suggest you ask about lessons from your local music store and go through this with them. A good local semi pro should be able to help. It may be down to mastering some left hand muting technique, but could be set up too. I would also say playing through headphones may be part of the issue, get used to getting the bass and amp gains sorted in a reasonable sized room. have you got used to the head phone sound and everything else now sounds strange ? Hope you can sort it soon good luck.

Anyone tried the Jack Cassidy 2x8 +6" also fancy the Acme 1x12"

As an electric only player, I did go down the 2 x 12" Mline route, so i would have a flexible rig for big band jazz and function band gigs. As Geoff is suggesting I found 2 x 12" Mline OTT for function band as at volume the bass was too pronounced I couldn't get away from it or EQ it out. mine were both 8ohm. I love just the one for jazz low volume but now have 2x12 Berg for function band gigs. so to sum up the porting works as designed to allow a small combo to hear the acoustic bass at low volume but not recommended for electric high volume gigs, Geoff may get away with this as only one is Mline. hope this is useful

Taking Phils point, pick up bargins when you can. remember speaker efficiency means that for every 3dB difference you will need to double the watts for the same percieved volume so a pair of PA speakers rated at 93dB/mtr will sound half as loud as a pair rated at 96dB/mtr when using the same amp at the same setting. As amps/watt are dearer than speakers go for the most efficient speakers you can. and an average mixer amp. e.g second hand peavey system with black widow speakers. This is important when you consider you loose 6dB with every doubling of distance from your speakers, you need to reach the back of the hall. of course even when you find a PA that is good for 500watts a side at 102dB /1w/mtr doesnt mean its going to sound nicer than the 300watt 93dB rig. I used to buy on efficiency alone and then learnt what sounds best may be a compromise. the singer may want to have the last say. good luck

love the Status half wounds, recently tried a bass with D'addario chromes well impressed with the feel and may well try a set soon, the tension seemed right and think that has a lot to do with it

I think there is room for another good bass amp for the working musician, light flexible with good connectivity. There are many out there but again none that would pull me away from the medium powered plug and play units i currently own. ref Markbass and GK MB500fusion. Actually still like the CARVIN shame they parted company with Bassgear

[quote name='deepbass5' timestamp='1422546876' post='2673963'] I dont see any CE mark on the back panel, Hope they haven't made the same mistake as Aguilar when anouncing the Tone hammer got me all gassed up then took a year to sort out european certs. So this could be a year May [/quote] Just dug this thread out started in Jan this year and was my prediction right, we havent seen this yet but still space on dealers sites waiting for it to arrive ?? creating demand is one thing, but there is also poor marketing. Anyone still waiting or have you lost interest too

Hector, happy to meet up and be your first victim sorry student. PM me, always glad to hear others views on the art of good walking.

A lot of truth spoken here even though it hurts. People - punters who like to like jazz see the DB as the pin up girl for everything jazz. they can relax to the bar as soon as they have clocked the DB laying in wait. My reading ability gets me jazz gigs, but i know they would prefer an upright. As was said above most of the time a DB can't be heard and that's how the blowers like it, seen and not heard occasionally felt. Keep it low and play D if lost, I was once told to be the DB players fall back position until they recognize the head or chorus.

I play in a couple of swing bands and although my reading is now good, when i am presented with just chord sheets or a passage with chord progression I find the opposite occurs, rather than being overwhelmed by the amount of choice open to me, i freeze into a predictable cycle of arpeggios rather than a nice walking pattern, i am aware of the use of chromatic approach notes but seldom use it to good affect. But i do know this is my weak point and try to work on it. That said i do listen to what other sections are doing and play sympathetic phrases that supports the general tune or phrases being played elsewhere. This means my playing fits in, so ticks most of Dads boxes. know where it is important to be doing the right thing, the start and end of phrases and approaches to key changes etc, you can often get away with things elsewhere. A good jazz bass player is like a guide dog, guiding brass soloists around the piece so they don't have to think, where am I , what's he at now your choice of notes tells them what chord tone you will be playing in two beats time ah we are at the Verse, thought so. So when they have been enjoying a 32 bar solo and think did we do the repeat, ah yes the bass player sounds like he is building to the key change in the second time bar. phew I'm glad he is playing for us tonight, I don't have to think. I just wish that was me i was talking about, Its a long journey this bass playing lark.

Thanks for that Booom, That was good I'll be checking them out