molan

Is Reading close enough? I know a good guy near there.

I've always liked the XM2 shape. Used to be as cheap as chips when headless basses went out of fashion and dropped as low as £600 in 'unfashionable' red. Still kicking myself that I didn't buy one at that price when they were around!

The Carvin sounds very different to a Streamliner. The latter is very warm (sounds 'muffled' and wooly to me but that's obviously just a personal view). The Carvin delivers big clean gobs of power and punch and goes very loud indeed - especially if run at lower ohmage levels.

My old function band were once asked, by the bride, to open with 'Hit Me Baby One More Time'!

Just watched a large chunk of this. I really don't understand the whole 'tribute' thing. A series of people singing Stevie's songs to him and not one of them could get close to the man himself. Jennifer Hudson was pretty good but the rest just came across as second rate warm up acts to Stevie. The whole show suddenly came alive when he came on stage with his core band Plus Nate Watts - what a fabulous player he is!

I kept some old Trace speakers in my shed for a while. The cones got some damp and white spots started appearing , spiders found their way in through the ports and nested inside etc. etc. I wouldn't do it again

Each of my regular use basses has its own strap but this is mostly dictated by the hardware on the bass. Some are more colour/ design orientated though: White Ritter has a flashy white leather strap with gold Schaller strap locks Tobacco burst Ritter has a black leather Ritter prototype strap with black Dunlops (one reversed because of the body design) Gold Lull has a dark blue Mono with nickel Dunlops Dark Cherry burst Sadowsky NYC has a Black Harvest with chrome Schallers DCB Sadowsky Metro is the heaviest and has a Comfort strap with chrome Schallers Black Status has a short Comfort strap with black Schallers There's a couple of vintage Fenders that get whatever strap is lying around without strap locks on, lol

[quote name='chris_b' timestamp='1432910287' post='2786158'] Was that at the Festival Hall, 2000? I got the last 4 seats in a row and took the family. What a great gig. [/quote] Yes, that's the one Chris. I bought a ticket at the last minute and got a cancellation in the balcony area just below the boxes so was looking right down on the stage.

[quote name='TheGreek' timestamp='1432895476' post='2785940'] Funk Brothers live... https://www.youtube.com/watch?v=CUGsE_cH3BY [/quote] I saw them in London. Great show and just about the highest number of celebs I've ever seen at a gig! Sitting near me were Elvis Costello, Paul Weller and Paul McCartney and that was just in the space of one small area on the balcony

Try Chasing Cars by Snow Patrol. It's literally three notes only and it's a slow song, however, place one of those notes out of time and it sounds really awful. It's often harder to play slow stuff perfectly in time and, if the arrangement is sparse, it really puts the focus on the bass so it's a good thing to get your timing absolutely perfect.

I remember going to see Standing in the Shadows in Chicago on the day it opened. We went to the late afternoon performance before the big opening evening show. Cinema was about 2/3 full and half of those people were musicians on the way to evening gigs with guitars and even small amps stashed next to them

Oops - double post!

[quote name='Cameronj279' timestamp='1432764301' post='2784849'] I know where you're coming from. Just had my first real rehearsal since getting my new bass and guitarist said the same thing! Good feeling, eh? [/quote] Definitely They usually just ignore me, lol

after playing it at a full volume, pre-gig, rehearsal your guitarist leans over and says "I don't know what you were playing on that last song but you must do that every time from now on - it sounded great, so much funkier than the way you usually play it". You then point out you played it exactly the same way you always play it but just on a new bass that you haven't used before In this case my regular band are used to me turning up with all sorts of different basses, amps and cabs but it was the first time I'd ever taken a Sadowsky along. It's a 2014, NYC, chambered ash body with 'Amazon' rosewood board and was played through a MarkBass LMII and 121H cab. Eq on amp set totally flat with just a hint of bass & treble boost on the bass. Sounded good to me standing up next to the cab but obviously carried really well across the stage to other band members as well. There really is something about a good Sadowsky that just sits in a live band mix really well

I always remember the head of the Fender CS sales team telling me that Shell Pink was a sure fire best seller. One of the fastest moving colours of all CS basses but dealers are always frightens of ordering them

[quote name='owen' timestamp='1432583416' post='2783046'] The sensitivity knob does have a certain[i] je ne sais quoi[/i]. [/quote] That's where the magic happens

[quote name='ahpook' timestamp='1432421043' post='2781391'] You'd need to be hale and hearty to keep up with his playing - his stamina is quite something. [/quote] I also wish him to remain free from defect, disease, or infirmity. . . .

I used the 121 combo with the 151 cab for a few gigs and it always sounded fine. Matched quite well really.

I think the LMIII is a great choice. I've been really getting back into the MB sound recently and have just picked up an LMII for rehearsing. I really quite like it with everything set completely flat