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I'd go with chorus too. Sounds like he's also using a pick.

A big difference between the 4x10 and a 2x12 is the vertical 2x12 has a far superior dispersion, meaning more people get to hear it when they're off axis. Back in the late 80s & early 90s I had 2 15" cabs. I moved them on & got a 4x10. Now I have a 2x10 that outperforms either of those rigs in every respect.

Practice your scales, that'll help build speed. Then practice them not just going up & down, but use different patterns (use some of the patterns out of Hit Me). The key is to practice & the secret is to have fun.

If you're still up, get D'Angelo's Voodoo on. Pino on bass for a good few of the songs too.

I'd say go to a shop that stocks.

[quote name='Dom in Somerset' timestamp='1392023416' post='2363580'] ...Of amps used for gigging I remember my first Bass Bash, everyone set up huge stacks around the room and there I stood with my Laney RB7 300W 2X10 combo feeling a little small. I'm not in a load band , I rarely use it to it's full potential. Bigger venues I've played DI it , I wouldn't mind adding a 15" cab to it for extra lows but I could live without it. Anyone use anything smaller?Or do you have a big one ?(ooh er) [/quote] How do you know a 1x15 will give you extra lows? If you want extra lows, get a sub.

I'd also suggest to go & try a couple in a shop first to make sure it's what you're after.

Getting a P sound? Every P copy I've played sounds different! I'd try re EQing your amp first & then try changing the pickups in the 800 (just the P) & see if that does it. I play an SR1000 & mainly use just the P & can get a great blues tone (I used to play in a blues rock band). Getting a P bass copy might not solve anything.

If you know it's your amp, then I'd contact the buyer & let him know that the amp was stolen from you, get it back , get the details of the seller from him & contact the police (or the big man).

It does seem to be a common issue with all but one of the guitarists that I've ever played with. The 2 in my current band included. As he's your friend, I think the best course of action would be to have a member of the audience shoot him in the nads with a taser every time he fluffs up.

If it's live, then either the drummer or bassist counts in (usually the drummer). Songs where I start have begun with me doing a count in. Recording or playing along, use a metronome in the software (any DAW such as Garageband or Reaper).

[quote name='LukeFRC' timestamp='1392055951' post='2364164'] I've been looking for smaller cabs than a 4x10 and all I can find is 4x10's... I think if I were upgrading, given the choice I would try something other than ashdown. [/quote] 2x12s are smaller than 4x10s & are a vast improvement in most departments. I'm happy with a 2x10 for now though & my current one shifts more air than my Trace 4x10 could.

The line 6 M9 & M13 get a good rep.

You can take a line out from the FX send & into the computer & plug headphones into that. Set the gain to where it needs to be (to control the signal going to the PC) & set the master to 0. I do this for recording (often turning the master up to hear the bass when I don't use headphones).

[quote name='toneknob' timestamp='1391774688' post='2361114'] I've got pedals that can suck a bit too much bottom end out the signal (wah, fuzz, env filter) on the A loop of my LS-2... [/quote] If your envelope filter is sucking bottom end, replace it, unless it's a high pass filter & that's what you're after. If it's a low pass, then it's kinda pointless if you're having to put it in a loop.

[quote name='Happy Jack' timestamp='1391783711' post='2361248'] But what happens after you've gone bang? [/quote] I'd imagine there's a mess to be cleaned up.

The correct answer should be "wherever you feel comfortable". In one of my previous bands, we always had a different layout for each gig. The only position I wasn't keen on was being dead centre with the guitarist one side & the vocal/guitarist the other & the drummer behind us all.

I'd sell 1 of the cabs & get a matching 1 if you feel you need it. Gig both cabs to see which one you prefer the sound of though.

MIDI is a fairly simple thing, especially if it's just for tempo. MIDI OUT will send to MIDI IN or THRU. You can have both boxes connected IN - OUT & vice versa & set whichever parameters you want to control. If you want to sync with something that doesn't have MIDI, then it's easy to fit a simple kit to have a MIDI clock (unless it's a human).

I'm with White Cloud. If the original screws held your old bridge in place ok, then there's no reason why they won't hold the new one in place just as well.

Now that I have my Mac back up & running, I'm gonna make a good effort this month. I missed the mixing comp too!

It's a shame drummers don't have MIDI in.

For recording video, you're better setting up some mics & recording the audio separate or better still, plug all into a desk & mic the drums up. Then put them together with some AV software. Edited because the spellchecker thinks "mics" should be "mice". Sick computer!

I'm sure there's probably better out there, but my fave is what I'm using now. Markbass 2x10 combo.

You have 3 filter pedals there. It's up to you, but I'd be inclined to try sticking the Enigma after the Wah or Qtron & getting an Exp pedal. This way you can filter the funky wahs in or out ala house music style. Like Paul says though, there's not wrong way to put your pedals. Playing about with your order is 1/2 the fun of having them. Learn what each one does & see what can affect what.