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[quote name='peteb' timestamp='1414782841' post='2593344'] Changing from a BBOT to a high mass bridge WILL make a difference to your sound. You will get noticeably more sustain and send a stronger signal to the amp / desk with a slightly fuller tone. You will also get a tighter feel to the instrument (which I prefer) and it will be easier to adjust. [/quote] Stronger signal?

[quote name='mcnach' timestamp='1414761534' post='2593040'] Try a Floyd Rose equipped guitar! The bridge is connected to the springs which allow it to move relatively easily up or down. It's not so bad it kills all sustain, but it's easy to tell the difference if you have a floating bridge (I refuse to call it "tremolo"!) that can be locked in position, like the Wilkinson one. If some string energy is used to make the bridge vibrate, that's energy lost from the strings, reducing sustain. As HowieBass says, rigidity is the main factor. Of course, a massive bridge tends to be rigid... [/quote] You make a good point, but that's the difference between a bridge that is floated on some springs & rubber gromits & a bridge that's fastened to the body, which in turn I suppose saves having to try out my foam test. Now, not being a geetarist (I play an electro acoustic, so different bridge (made of wood & plastic/bone), if you get high mass & bent tin floaters, is there any difference between them re: sound?

For a bridge to make a difference to the sound you hear, I think it comes down to how much you spend on it. Obviously an ABM bridge must sound awesome, why else would they be so expensive? I changed the high mass bridge on my Ibby to one similar to the Fender ones & other than looking different, it sounds no different at all. Sustain is the same too. I know this, because one of a previous band's songs required long single notes & they fade on the same beat. I was going to put a Babicz on it, but that would just be for looks & adjustability (should I have ever have needed it). ET's theory is good, but I can't help think that to dampen a string, you put something against the string, not the bridge. It might be worth trying a test using a bit of foam between the bridge & the bass to see if there's any noticeable difference.

I was going to add a sub to my rig, but never did. I did use one a couple of times. If you're wanting to get those low rumbles, then try some out & see if it's going to fit with your band. My bands that I tried it in were an electronica band (the last band), a dubstep/rock band & a folk/americana/jazz/acoustic band. Had I still played, I would have built myself a BFM Tuba, the extra low end fitted well with my bands' sounds.

[quote name='stevie' timestamp='1414707209' post='2592614'] Markbass has been fitting Chinese copies of B&C drivers for some time. [/quote] I didn't know that. The B&C drivers are a fine bit of kit & they certainly can move some.

That's actually a good price for 2 covers. I bought mine from Roqsolid for my combo. It was £40 6 years ago. Customer service was excellent (from ordering to delivery I was kept updated & they even phoned to double check which piping I wanted) & it's still in excellent condition.

I've had it with one or 2 songs in the past. One of which was the intro to a 90s techno song.

[quote name='TimR' timestamp='1414537103' post='2590540'] I'd suggest that was something we called jazz funk in the late 80s. Wikipedia claims it's 'neo soul' or 'funk'. It's ok for a minute or two. [/quote] Most modern RnB is probably better described as Neo Soul as it's more a mix of Soul & Funk, a small amount of Blues & plenty of Rhythm.

You can always turn the volume down on the bass & increase the input gain on the amp.

[quote name='Skol303' timestamp='1414492014' post='2589712'] A bit like classical music? [/quote] My fave electronic classical musician is J M Jarre, though I'd class a lot of stuff like Tangerine Dream & Vangelis as classical score. It's just not played on traditional classical instruments. A bit of Bach on bass is fun, even if you're not into classical music.

I think Simon Cowell is a clever business man. As for the music, many of the talent show winners go on to nothingness. Elliot Yamin was a fine example. Excellent singer & sounded great covering other folks songs. Released an album of stuff written for him & it was dire. The music did sod all for his voice.

You could get any decent combo that you like & add a sansamp or similar.

I like both the old & the new RnB For all who haven't taken time to listen to decent modern RnB, may I suggest this... http://youtu.be/m4XI6LXCsH8

I'll try & clear up what I'm defining as music snobbery (which most of you have gotten spot on). Where the listener will not listen to a specific genre(s) of music & dismiss it. An example of this could be Hip Hop (I love this genre, but not very keen on gangsta rap). To say you don't like Hip Hop without listening to a couple of good tracks & finding the musical worth in them is snobbery to that genre. It could be House music (another genre I adore) & thinking it's all just electronic push button stuff (it's not, there's some truly amazing basslines in there). Something I must make clear, there's nothing wrong with being a music snob & sticking to the style(s) that you know & like, there's nothing wrong with liking every genre too. So don't take offense, this is just for fun.

Being musicians, there's songs & genres we do & don't like to play. But when it comes to listening, how much of a snob are you? Do you like just the one or two genres, do you like loads of genres, but a couple you dislike or will you listen to anything & give it a chance? Do you turn your nose up at certain genres, like pop or RnB? I try not to be a snob & will happily listen to any genre of music. I'll listen to Steve Earl, then some Chopin, some Ultraista, some Kurt Elling, then some Primus, Coldplay & then Gungor. There's songs that I don't like, but I don't think I've found a genre that I don't like.

Compressors are meant to be an effect that you don't know when it's on, but do know when you turn it off. Getting that right usually requires a meter. Some folk use the compressor to squish their sound, making it more synthetic. Me, I couldn't get on with the compressors that I tried (EH White Finger & Boss CS-? ). The Boss raised the noise floor significantly too.

Enjoy your rig. Try both your cabs on their own & see if you prefer one over the other (place your 2x10 vertically, makes it higher & improves the audio spread). You might even find the one cab is loud enough on its own. We might see you in the fx section soon.

It depends on many things. What amp, what cab, what bass & what venue are starters. Then there's the band to take into account. Play about with your eq until you get the sounds that you like & sit with the rest of the band.

Good choice of amp. 1. Ignore the watts. If you're planning on playing as loud as you can, use your ears & not some irrelevant figures. 2. There is no difference on how you connect. Do what you prefer. 3. You're missing an obvious point. Find a cab that you like the sound of & if you need more volume for big venues, buy a 2nd identical cab. 4. They're not. The only time a 4x10 & 1x15 are suited to any head is when it's Wembley or similar & the PA & foldback are doing all the work, with the rig just being for show.

[quote name='Kevin Dean' timestamp='1414000949' post='2584738'] What about if I placed it under the Pa Top speaker via the mounting pole ,like we use to , But put it pointing across the "stage" sureley with bass being none directional our drummer & Audience would hear it without deafening me ? [/quote] If the PA top is off stage, then yes. Having it on stage can be a bit of a pain to get a good clear low end that shakes the glasses (a bit like how you can get boom from your bass cab on stage).

[quote name='lefrash' timestamp='1414000763' post='2584732'] Doing that though would make you the dick, not the singer/guitarist. As others have said, not all musicians have a grasp of (even basic) theory, it doent make them bad people (or bad musicians). If I'm ever in that situation i always take 'key' as being short hand for the first chord. I know its not right, and I know quite often its not theorically correct, but I just get on with having a bit of fun playing tunes in front of folk without going all muso on them. [/quote] I agree 100%. When someone says "We're playing xxxxx, it starts with a C", then that's perfectly acceptable. You know what the first chord is & can work out the scale from it. When they say "We're playing xxxxx, it's in the key of C" and didn't hand me a chart to show the chords, then it could easily go a bit awry. It never did though, as usually after the first few notes it was clearly not in C. Where I said I've considered it, I never have & wouldn't in front of an audience.

[quote name='Jenny_Innie' timestamp='1413993810' post='2584574'] Sorry, I'm new here. I don't get this. I have an Ashdown MiBass 550 .... which puts out 550 watts at 4 Ohms - but probably only about 300 and something at 8 Ohms. So ........ surely, there will be a higher volume at any given level on the dial if it is a 4 Ohm rather than 8 Ohm? I'm interested y'see as I'm kinda slight and would like a lightweight cab ..... and any help with output would be good. [/quote] Watts & ohms are often missold as being what makes volume. It's like me saying my car with a 6 speed gearbox is faster than your one with 5 gears (it isn't a fact, my 5 speed Honda was much faster than my 6 speed Nissan ). It's worth reading what Bill has said on this page & also on his website's forum... http://billfitzmaurice.info/forum/ And it's also worth reading up on what wisdom comes from Alex as Barefaced... http://barefacedbass.com/technical-information/mythbusters1.htm All good worthwhile reading. & welcome to the forum. I hope it serves you well.

[quote name='Kevin Dean' timestamp='1413993603' post='2584569'] We are playing small venues & I have to admit I like the sound & feel of the bass drum rather than the thin sound that we were getting through the monitors & it still sounds great out front . [/quote] The best pacement is on the floor in front of the stage. Try it at the next gig.

[quote name='Jenny_Innie' timestamp='1413988796' post='2584463'] Why would it be pointless? [/quote] Because you're not getting any more noticeable volume out of a 4 ohm 2x10 cab than what you would out of an 8 ohm one. If you're going to run an amp at its minimum load, then it makes sense to make sure that the cab(s) are going to make the best use of running your amp hot.