BigRedX

And I am Whitby 200°

Yes but once again we had a sample size of one of each which is scientifically meaningless. Also he didn't test (or at least we didn't hear the results) to see what tonal changes are achieved simply by removing and re-attaching the same neck, which is an essential control experiment. And finally the results for these two examples were the opposite way around to what "tone wood" believers tell us to expect. My problem with "tone wood" is not that it doesn't make a difference, but that it doesn't make a predictable difference, or from what I have heard, make a massively perceptible difference. When someone takes the time and effort to do proper scientific testing with proper controls with a decent sample size (at least 100 of each type of wood) and gets results that are consistently similar and significantly noticeable for each species of wood that are are also consistently different between different species then I'll admit that the type of wood used in the construction of a solid electric instruments is important for aspects other than looks.

Yes but the difference was tiny and in a band mix would be completely lost. Also the construction of a neck with a rosewood fingerboard is different to an all-maple one, so is the slight tonal difference due to the woods or the construction or a bit of both? Or was the difference down to the fact that he had taken the neck off the guitar and put it back on in a slightly different way?

What make of strings ave you got fitted at the moment? I had the same problem with the E on my Burns short scale bass until I switched to Newtone which made a massive difference to both the playability and the sound.

Except that Helix is derived from Greek rather than Latin...

Not for me either. Although TBH the kinds of bands I like are better appreciated down in front of the "stage" in a small sweaty club late at night, rather than from the back of a windswept field in the middle of a dull and overcast afternoon. I used to enjoy the Nottingham Rock & Reggae festival in the 80s but at the time I was living 5 minutes walk from the site and could go home any time the music or the weather were being unsuitable.

Are you thinking of selling it or thinking of using it at a gig?

Is their sound or what they play? If it was just their sound you'd able to tell from a single note, but I bet no-one here could identify any bassist from a single note, so the note choice and phrasing must be equally if not more important than the sound itself.

Always amazes me that people are quite happy to pay £10+ for a T-Shirt that's probably taken an hour to design and has a unit cost of less than £3 to produce, but won't pay the same for 40 minutes worth of music on a CD that has cost more to produce in terms of recording, mastering, printing etc. then the band will ever get back even if they sell every single copy they have made.

Fernandes sustainer. Or a small (<50watt) amp in the right position on stage.

Thanks for the comments about the poster. TBH it was just a question of being in the right place at the right time. It was part of an exhibition at the Greenwich Mural Workshop in the 80s, that must have taken the V&A's fancy. I had several other posters in the exhibition but none of them were taken. And now something even weirder. One of the bands I play with wrote a song about the Trappist-1 system and made a video to go with it that got sent to various scientific bodies involved with the discovery. As a result our singer is currently in Liege presenting the video and talking about writing the song, and has just posted footage of the video playing to the other serious academics at the conference, including a couple of seconds of me throwing some serious bass poses...

But it pales into insignificance beside the sheer number of Marshall guitar cabs next to it.

Then where was the smilie?

AFAICS none of the those AC/DC bass cabs are mic'd up so their contribution to the FoH sound (and that's the important bit of the band sound) is zero.

And completely pointless from a sound PoV. IME as soon as you are playing on stages/venues big enough to have the room for this kind of rig the foldback system will be far more effective for hearing yourself than your rig, unless your default stage position is to be stood a couple of feet in front of it and you never ever move from this spot.

And your/his point is? A good musician plays for the music. Sometimes all you need is your instrument. Sometimes you need a load of sound shaping devices. Knowing when and where to use them is one of the things that sets a good musician above an average one.

You can always cut it up and use the pieces for cleaning/polishing your own bass.

I liked The Tourists as well. But the Eurhythmics - especially the second album - is all about the sonic minimalism.

As have Hughes & Kettner with their Red Box system. As I said in a previous post, in the studio on my Tube 50 combo, the Red Box output was virtually indistinguishable from a SM57 on the 12" speaker, and for live use I always preferred to use the DI rather than muck about with another mic on stage. This was in the late 90s and use to perplex many PA engineers. Often at multi-band gigs I'd find after the change-over my amp DI from the soundcheck had been replaced with a mic on the speaker.

Get one of those pull-up banners with a SVT and 8x10 printed on it.

If I was going have dummy cabs on stage I'd have made out of light-weight materials and constructed so that they folded flat for transport.

The OP has got the cabs in wheeled flight cases. I don't think taking the speakers out of one of them is going to do much for weight or portability.

Yes. Actually both bands were using some automated backing in their performance already. For me the additional live instruments added unnecessary clutter to the arrangements, especially The Eurhythmics who lost the stripped down elegance of the songs from the Sweet Dreams album.

Some uncomfortable truths... If your bass is going into the PA and DI'd from the amp, then at anything other than very small (<100) venues and for people directly at the front of the stage at larger ones, the contribution your cabs are going to make to what the audience hears is zero, nada, zilch. If the visuals of having lots of cabs on stage is important to the look of the band by all means take both of them, but just plug in one.

Interesting thoughts. In the 80s when I was very much into synths I went to see The Eurythmics and Propaganda and was disappointed to find that they had considerably "rocked-up" the arrangements of their songs to suit a more conventional band line-up. Even though the Eurythmics band was pretty much an all-star line-up featuring amongst others Clem Burke (Blondie) on drums and Micky Gallagher (Blockheads) on keyboards, I was underwhelmed by the arrangements and missed the clinical precision of the album versions of the songs. The Propaganda gig was even worse. The songs were barely recognisable from the recorded versions and the inclusion of live guitar and bass (but not drums) in no way made up for the missing synths power that was present in Trevor Horn's production work.