Dad3353

In the '50s and '60s there was much less exposure to commercial pressures, or even presence. We had no television, no music magazines, just the BBC's Home Service for radio (Listen With Mother, The Archers and the News...). I had no idea whatsoever when I bought my first guitar, no more when I bought my first bass, and still nothing when I bought my first drums. I have no childhood 'heroes', and would not associate any instrument with any player; my firm belief is that it's all in the fingers, not the instrument/amp/Fx or whatever. My 'idols' impressed me by their playing, whatever the rig, if I even knew what stuff they had. I've seen many of 'em, with many different set-ups, and they always sounded like themselves. (Jorma Kaukonen, Jack Casady, Spencer Dryden, Christian Vander, Joe Morello, Richard Thompson, Martin Lamble, Frank Zappa... to name just a few...).

When Blockheads meet Beefheart (sub-title 'Hit Me With That Trout Mask Replica...)

Elvis is dead..?

It was very common, in the rigs I've had to handle, to have two 'bass' channels anyway; one for the DI, the other for the mic on the cab. Two DI's wouldn't bother me at all; I'd simply pach the second DI in the stead of the cab mic. I'm not talking about a six-channel Peavey desk, of course, but I wouldn't call such a set-up an 'expensive PA'.

Yes indeed. Paganini has rather sunk from view, too. How fickle folk are.

You're entirely welcome, but I can't deliver. Collection only (but I make a pretty decent cuppa...).

Well, when you're next over here in France, depping without your usual instruments, pop in. I'll even brew a cuppa, with a ginger nut or two.

I'm not sure that many would ask often to borrow my n° 1 bass...

I, for one.

What..? Shirley not..! Was it not a 'super expensive PA'..?

Do you play Cream covers..? Asking for a friend.

Keys are very capable of putting out extreme frequencies at extreme levels, yet pass through many PA systems with no issues, when dealt with correctly. A bass causes no 'special' issues for any PA that can handle keys.

Well, I was thinking more Schubert's Ninth, but... whatever. Hmm... Food for thought.

In all the venues I've seen and done sound for, a pair of Xlr's from any instrument would be the dream scenario. Just plug 'em into the channel strips, correct for gain and balance in the mix and 'Bingo'..! I've yet to come across a PA that a bass could harm, if fed in this way. From the rest of your 'issues', I'd suggest that you were unlucky in getting a below-par sound guy, s'all. Change nothing.

I've yet to meet up with enough like-minded trombonists. Substitute keys just don't cut the mustard, I'm afraid.

My kind of music..? Schubert etc, but not much call for drummers playing that repertoire in pubs'n'clubs.

We lent our 5-string Cort to Rodney Curtis (Maceo Parker bassist...) for our 3 Elephants festival, as his Lakland had a dead pre-amp. He changed the strings and played a splendid set with it (it sounded great through the Ampeg backline...). He signed the back (now worn off...), and was very happy with the way it played. At the time, that was our n° 1 bass. Happy daze.

Indeed.

My ears are 100% cloth; I heard no difference between any of the comparisons. I could not tell, if played back blindfold, which body was which.

And quite a lot suffering from tinnitus or worse (is that possible..?).

In our little 'family' band, our Singer was the Drummer (and good at it...); I played bass. After a while Our Youngest picked up bass, so I switched back to drums (I'm a drummer...) and now our Singer is free to express himself fully as Singer/Frontman. He has no timing issues.

Latency is an inherent part of many instruments (most typically : wind...), and is dealt with, usually, by anticipating the 'beat'. Summoning a large gong is an extreme example; one does not just 'bang' it; it has to be prepared. Experience helps.