Japhet

Roland Bass Cubes are great. If you want really cheap a Line 6 LD15 is a good little amp with mp3, headphone sockets and loads of onboard effects.

Recently acquired mine from Ryan Cowell and used it first time live over the weekend. I use a modest amount of drive to add a bit of breakup and the Tritonlab did it perfectly. There is masses more gain available for those that want it and the sound is warm and 'tubey'. To clear up one point, the pedal runs from a standard 9v Boss type supply and the internals boost it up to 33v. The other thing I noticed is that I'm having a few buzz issues with my pedal board (probably power supply related) and the Tritonlab cleaned this up almost completely which was a rather nice bonus.

Absolute monster bass player. Not sure about the fondness for kilts but that's a different subject.

You can have a lot of fun with a Zoom B3 either using the generic synth patches or making your own synth sounds combining drive, fuzz, octave and envelope filters in any order.

Andy Fraser - Early Free stuff caught my imagination. Lee Sklar - the all round professional. Juan Nelson - Funk and Groove personified. Bob Babbitt - Overshadowed by Jameson but every bit as influential. Michelle N'degeOcello - Fabulous. P.S. Bobby Vega - Coolest dude out there.

MB Fusion covers all bases (pardon the pun).

Guitars can be sensitive to heat and often won't stay in tune when a room warms up. A spare guitar which is 'in tune' at the start of a gig will more often than not need re-tuning when the ambient temperature warms up in my experience.

They'll look better than their owners I'd imagine.

Tecamps have a 'Taste' control. In my opinion this is exactly what it should do.

But.....but.....but what about GAS and the eternal search for sonic nirvana? I played through PA only once at a festival and felt naked! Hated it.

We all do our bit and it works well. Even had a situation where our (my) mixer amp packed up and we put vocals through my GB Streamliner which rather surprisingly sounded absolutely fine.

Think it's very dependant on what you're playing. I played for years in a 7 piece function band where everything was at a moderate volume to produce an overall balanced sound. I used a 2x10 for that but a 1x12 would have done fine. I wouldn't try it in my current 3 piece rock band though where the bass needs to fill up more of the sound.

[quote name='ivansc' timestamp='1464534890' post='3060148'] I do find it a little disturbing that most of you guys seem to regard a covers gig as requiring a slavish, note perfect, feel-perfect version of The Original Record. Really hope I am reading this one wrong. In any case, when I play covers, I try to sort of pay hommage to the original, but never follow anything note for note. In 99 cases out of 100, the guy who did the original recording has never played it twice the same. For me, that is where the fun is on any gig. [/quote] Absolutely with you on that. In my opinion, 'cover' means version whereas 'tribute' means copy.

I play in a rock band but I love all types of music. I love the gigging but can never find anybody who wants to play funk, latin, fusion, ska etc. etc, so I play along to that stuff at home. I find the rock stuff generally undemanding compared to other genres.

Lightweight for me. Trying to get out after a gig lugging a big old heavy lump through a crowd of pissed up punters blocking the way ain't for me any more.

To answer the question I'd say an amp that's loud enough to keep up with an un-mic'd drum kit. Anything louder than that should be having PA supportfor bigger venues etc where the bass rig effectively becomes an on stage monitor.

I picked up a Roland Cube 60 for next to nothing. Good range of amp simulations and effects and a nice clean channel as well. Headphone socket and Aux in for mp3s or whatever and small as well. I reckon it will go pretty loud if you crank it up as well.

Envelope filter is controlled by the dynamics of your playing (i.e. how hard you attack the note) and a compressor is used to even out the dynamics. Envelope filter is one of the few pedals I'd always have in front of a compressor.

When my band used to be 5 piece (Vox, 2x guitars, drums, bass) I could never, try as I might, explain to the pot basher that he should set up right of centre so that the 2 of us on the left had room to breathe. Every friggin' gig we'd get there and he'd assembled his huge kit dead centre. Like talking to a cabbage.

Stingray.

Slightly off topic but...............a few years ago I worked in the exhibition industry building stands. We built a stand for a camera accessory company one time at the NEC. The thing was the size of a house. The day before the show opened the clients turned up to inspect the stand and after a good look around one of the Directors said they were very impressed and loved everything but was the any chance we could turn it round so that it was facing the Nikon stand. I have no idea how such stupid people manage to get such high paid jobs.