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[quote name='Jono Bolton' timestamp='1474203945' post='3136220'] Had fun with this the other day... [/quote] Loved those Peavey MkIV amps. You could get some amazing tones from those 2 channels and graphic. Bit heavy but fantastic amp. Dave

[quote name='spectoremg' timestamp='1487266829' post='3238522'] Down and Out's all bass pedals - no electric bass on it and yes Firth is bass and 12 string so it would have been his Shergold 4/12 modular. [/quote] I knew i was wrong with Firth and that's why i then thought it must have been Down & Out. Wasn't sure about it to be honest but according to what i've read he used the 8 string on I Know What I Like at Earls Court 1977. He apparently used it for that song on Wind & Wuthering tour which was before my time to be honest. Dave

Back to the original post its possible if they adapt the product as already discussed it could be a reasonable seller. Dave

[quote name='toneknob' timestamp='1487243213' post='3238279'] Firth of Fifth is a bass/12-string song for Mike in concert, pretty sure he didn't change guitars during the song. (We're scraping the surface of why I'm no longer in tribute bands now, by the way) [/quote] Down And Out but could be wrong

[quote name='toneknob' timestamp='1487239768' post='3238239'] Interesting story Dave, thanks for sharing. My 4/8 double neck had a great 4-string neck, exactly what you'd expect from Shergold. The 8-string was a bit difficult though. The serial number was 8401, following their convention for the first two numbers being the number of strings per neck. The -01 doesn't necessarily mean it was the first one, as your story supports, but it's a curious theory. As far as I can remember Mike Rutherford is credited with using an 8-string on Wind & Wuthering and Seconds Out, but the songs it's used in aren't mentioned. The only overlap between those two albums is Afterglow, which doesn't sound like an 8 to me. Happy to be proved wrong though! [/quote] Mike wasn't using a Shergold 8 at that time. He used a Hagstrom at that point but think Shergold were looking at building him a proper 8 string rather than like mine which has a shorter scale length. I guess he had more influence than me and i'm not sure wh that is. Think he used 8 on Firth on Seconds out and pretty sure on one of the tracks from Then There Were Three. Before that i couldn't be sure without going over the old albums again. Assuming you still have yours ? Would love another one altho not a twin neck unless i could locate my old one which i did try a few yrs back but it could be anywhere nowadays. Dave

[quote name='toneknob' timestamp='1487234571' post='3238172'] Any idea what the serial number was on that one Dave? [/quote] Afraid not. Not sure if the photos have a date as they were taken as soon as i got it. Checked and photos aren't dated but looking at reference points from other pics i have and when i started playing i think this might be 78. It was my 2nd bass after a Columbas Jazz. I started playing in 76 and would have had the Columbas about 2yrs before buying the Shergold. Latest would be late 78 / early 79. It was so long ago and a bit heavy for me. Traded it for an Aria SB1000. Cost me £630. That bit i can remember LOL I remember the conversations with Shergold (not sure who i was talking to) and they said they didn't make 8 strings altho they were looking at the possibilty. At that time Mike Rutherford was a big part of it and he played an 8 string bass and i think they wanted Mike to use one they had designed along with the twin neck he had. They suggested to me that they didn't have their systems set up for one as they didn't make full custom basses but could adapt their existing 6 string neck if that would be ok to me. Being young and naive i went with it. It was a great bass to play. The necks were fantastic and they had that distinct Shergold sound. Dave

More than likely its a design more for sound than looks but every other cab designer has managed it. I'm going by the spec on their website. You would need to be big Arnie to knock over their 115 cab off the 410 i think. Only an inch in it but we could all do with an extra inch on the lw end Dave

Yep i had the first 8 string they did. Because they hadn't made one before they suggested adapting the 6 string they had and here it as my twin neck 4 & 8 from circa 1978 -1980 if memory serves me right. Might have been a bit earlier. [attachment=238279:old photos_0004_NEW (2).jpg] Dave

Having just bought an Orange OBC115 cab i thought maybe a 10" or 12" cab to give a bit clearer high end mids would be nice. [b]Here's the rub :- Why have Orange built cabs that don't sit evenly with each other.[/b] 115 cab is 24" wide yet the 410 cab is 25" which means the 15 would be safer sitting on top. Doesn't make a lot of sense to me. Anyone else find this a wee bit annoying when you want a good all round full bass rig. I know there are people that disagree with mis-matching speaker sizes but having used it for many years i just know it works well for me. The post isn't about the do's and dont's of speaker sizes just about manufacturer mis-matched cab sizes. Dave

This was my working rig for bigger venues :- Ampeg SVT4 Pro Bergantino HT322 Keep the GK 1001RBii as a back up altho Ampeg knackered at moment so GK will take over for a bit. [attachment=238251:bass room 003.JPG] With the GK head :- [attachment=238254:The big 1000W BASS rig.JPG] Also use a Markbass 121 combo and ext cab for smaller gigs :- [attachment=238253:Markbass rig 004.JPG] Have a TE rig at reahearsals but not a huge fan so no pics. Also just bought an Orange OBC115 to use with one of the amps possibly even the Markbass combo but undecide on which combination i'll go for. Dave

Used a Roland Pre-amp split into 2off Matamp all tube power amps with Hi end into a 2x10 custom cab and Lo end into a 1x15" custom cab With my Fender Jazz it was probably the nicest tone i've ever had but heavy rig to be carting about when you only weighed 9.5stone Got rid of the full rig when one of the power amps caught fire one night while playing and roadie got a belt from it when he went to switch it off. Dave

[quote name='Killstarz' timestamp='1487156903' post='3237550'] I ended up getting the OBC410 in the end as one came up at a price I couldn't resist. It's a lot heavier than I would have liked but I'm very happy with the tone I get through it. [/quote] That's kinda why i ended up with the 115 cab Good to see you got sorted. Does the 410 still give that deep low end. ? Dave

Having tried the OBC115 at rehearsals i found that the depth was there and great low end. Lacked a bit on the hi-mids but that should be EQ'd out with the amp once i get a bit more used to it. Found it gave the band a more full sound than the old TE 2X10 cab i was using at rehearsals. Might at some point add a 10" or 12" cab to get sharper mids if EQ doesn't quite cut it. Dave

Cheers Grant. I was finding much the same as you and what you told me when i picked it up from you. Quick update from rehearsals and found the low end was spot on with what i was hoping for. Using the Trace Elliot head there was a distinct lack of higher end ranging from the hi mids to treble frequencies. Just needed to tweak the amp a touch to remedy that however the TE amp started to fail again. Swapped to my back up head GK MB200 and apart from little boost on the bass and using the contour smiley face switch the cab behaved without issue. Having been away from 15" cabs since 80's i still need to address the lack of higher end clarity. Will try adjusting the amp EQ and failing that might look at adding in a 10 or 12 cab. One option that i tried in the house was using my Markbass combo which sounded full range and top end much sharper. That will be my first option next weeks rehearsal. If that works ok i'll maybe look for a 2nd hand Orange cab and start using my GK1001RBii for gigs. Ultimately an Orange AD200b head and an additional matching 4x10 but that's silly money. Overall the rehearsals have never had so much depth from my bass. Even my Jazz sounded rich and warm and plenty of depth and low end. Not booming but just rich, deep and warm. Dave

Yep agree he is extremely talented both at playing and songwriting and i really enjoy his "normal" solo bass work like the first clip however he does do a lot of double or multitracking but his technique is fascinating to watch. The 2nd clip was a waste of time to me and boring. Would hate to have been in the audience at that point. Probably a good time for a Pee break during the gig Dave

[quote name='Left Foot' timestamp='1487077739' post='3236790'] Spacebass is a bit nutty for me, so is the white blob. However I really love the look of the millimetric bass, even the headstock has grown on me. Anyone played it before? [/quote] Too square for me amd looks quite cheap and tacky for my taste. My guilty passion bass would be :- Had one years ago and quite fancy another but price puts me right off. Dave

[quote name='uk_lefty' timestamp='1487072965' post='3236713'] I wore two watches at my last gig. On the same wrist. What does that mean?!?!?! [/quote] Disturbed One for older songs and one for modern songs Dave

I have the Precision Deluxe and altho it has a passive active switch the tone control doesn't work when in passive mode. Kinda weird set up but tend to leave in passive mode anyways. Curious on your thread and hope we both see feedback on this one. Dave

Excellent. Its always a nice feeling to hear yourself on radio shows no matter how often its played it still gives you a kick. Dave

Tried various straps with varying widths and padding styles. Tried the Gruvgear one with the double strap one over each shoulder. On majority of my basses i just use it as a normal one shoulder strap and can either remove the 2nd strap or leave hanging at back. The width and padding is excellent and hardly feel the bass on my shoulder in comparison to others. Not cheap tho and the length available in UK is limited to shorter version only. I used a good quality leather belt to extend mine by 4 " to get correct bass height and i play normal bass height with bass centre line just above waistline of my jeans. You can get the extended version from US tho. Dave

[quote name='Marvin' timestamp='1487068029' post='3236645'] To get back to the topic An album needed to be released between Oct 1st 2015 and Sept 30th 2016 to qualify for this years award. Hence why Adele's 25 was put forward for the 2017 award and not 2016 [/quote] Explains it all. Is it based on album sales only ? Dave

[quote name='PaulWarning' timestamp='1487016215' post='3236301'] not a big Bowie fan after his Ziggy period but as Jimi Hendix once said "once you're dead you're made for life" and he should have known [/quote] Much same here Paul. Station to Station and then i lst interest until Blackstar which i bought on pre-order before i knew of his circumstances. I had heard some clips from it and thought it was more a return to his older style. Little bit off thread but its Bowie and he deserves it more than Adele. Dave

[quote name='Shonks' timestamp='1486990358' post='3236034'] this has probably been done before, or maybe not, anyway, I thought I'd start this thread and give away some simple tips I've picked up over 40 years of gigging and sessioning. please feel free to add any or criticise..... in not any particular order:[list] [*]loop your cable over your rear strap button [*]loop your cable through the handle of your amp [*]check batteries on an active bass [*]run pedals from PSU's when possible [/list] ---[list] [*]turn your wrist watch to the inside (you can see the time while you play - no one knows your looking) [*]look better than the audience (dress right for your gig) [*]don't constantly stare at your instrument as if you've never seen it before (try and play confidently without looking) [*]don't have a clip tuner permanently on you guitar (amateur) [/list] ---[list] [*]be prepared to change a set list on the fly (read your audience) [*]played a bum note?... remain looking confident ... smile...raise a subtle and accusing eyebrow at the guitarist..., deny all after the gig... [/list] ---[list] [*]on a session do everything possible the producer asks (obvious) [*]try and get it right and tight the 1st time (if you want to be called back) [*]reading: check the 'geography' of the piece (meaning: repeats, signs codas etc) [*]before the take: look for bars of particular difficulty. It's not bad to ask the MD how a particular section should be played. [*]any complicated unison parts, specially with brass sections - see if you can con them into playing it for you. Brass players are usually exceptional readers. (after they've played it, tell them it was wrong - watch them get upset, they'll play it again and you say " yeah, that's more like it" - gives you more of a chance to clock it! and they think you've paid them a compliment) [/list] hope you found this useful - anymore? please add! [/quote] Some sneaky ones in there but you've probably covered all mine with your list. Great post, enjoyed the read and learned a few things i had never even considered Dave

Probably agree on the Bowie thing of recent years not producing best selling albums. Maybe the odd song from each album but i would struggle naming his last 10 albums and i was a huge Bowie fan. Blackstar is for me a good album with a couple of great songs. Not a brilliant album just a good one. Agree he probably only got the recognition because of circumstances. It does make you wonder why Adele album didn't get the award last year in 2016. From a pop point of view it probably is a good album. I quite like her voice but having bought one of her albums few yrs back i found the album a bit boring with the songs sounding very similar and for that reason wouldn't buy one again. Dave