Owen

On loud stages I have had the front of my DB acting like a large microphone and could clearly hear the kick drum through my monitor even though it was not being sent there. So the instrument creates sets of problems before it even gets to amplification. I used to get all fussy about DB specific amps, but an Fdeck or a Vong HPF, both of which have a nice high impedance input sorts all that stuff out. A decent HPF sorts out nearly all the problems. The thud all we DB players crave does not really happen in the lower reaches of LF so a cab which does not actually go all the way down there is often better. The nicest not stupidly heavy cab I ever had was an ACME 12". It was bigger than your average 12 and that really let the speaker breathe. The nicest one of all was my Berg IP310 - but I could go on about that forever.

I have a set of roundwound Kala strings for a Ubass. If anyone is looking for some.

I was just thinking about grifters........

It went for £10500 + whatever the hammer fee etc will be. Prob another 25%ish

mutter.........mutter....talks to himself.....mutter.....must not derail thread........mutter...I will get banned.......mutter

https://www.sustainiac.com/st-pro.htm says they can accomodate Bass guitars, But the page looks like it has been untouched since 199HTML so I have no idea if it is a thing or not.

I have a sustainer pickup fitted to my Tele (guitar). It is LOADS of fun. If they did one big enough for bass I would have one of those as well.

Certainly unlikely to be one finger per semitone!

To be fair, I would be pushing QSC in the direction of RCF quality rather than Alto etc.

Yes. For me, no. There is no doubt that it can work but it will mean an adaptation of technique. If you are playing a 34" 4 stringer with .45 strings then it will not immediately turn into a super sustaining organ pedals imitator. But given a change in technique and string gauge it is more than possible to make it function. That is OK, because you need to change elements of technique to get lots of FX pedals to give of their best.

But dem lo notes tho

One 12" speaker with huge excursion blah blah blah....... big cabs shift big air. Big air = yummy.

I can enjoy it being done well. But a long time ago I had student who slapped over everything. We were doing a PA lesson and he came on to soundcheck. He gave it the max thumb and the student engineer just deadpanned him, grabbed the talkback mic and said "play me something I can hear". We just fell about laughing.

That makes two of us.

2 x F115 = dreamy!

https://www.facebook.com/KaliumMusic/photos/a.960115780809786/2143241609163858?type=3&comment_id=2143265279161491&notif_id=1638473917315592&notif_t=feedback_reaction_generic&ref=notif

I resemble that remark!

If I had a speaker cab company, this would be my strap line.

It's funny, isn't it. There is no doubt that manufacturing tolerances are better now. There will always be a market for "things which were cool when I was young but I could not afford them then so I will have it now". And what those things are will change with time. But does older = better? For me? No. When I were a lad anything that was after 1965 was uncool. Now anything from the 70's is considered exciting. I have a 66J from Jan the 5th (so very nearly 65!) and a neck and body from a 73P. Both function very nicely and the sniffiness which I would have met had I been championing the 73 in the 80s has completely dissipated. I would not have been championing it in the early 80s anyway, because I knew that anything from the 70s sucked badly. The only real difference I can see apart from the actual wood is finishes. The wood they were using was probably better quality lumber because that was what they had and it had been drying for longer. That was how they did it. None of it was deliberately fancy. It was just what was at the local lumber yard. So there is an argument for the wood - but I am not going to go there. Do I prefer a nitro finish to a poly finish? Yes, I do. For THE TOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOONE!!!!!!!!? Not really, I just like the tactile nature of it. I like the aesthetic. And the aesthetic is a very important part. I have been through 3 Bravewoods in my time. For me they have that aesthetic in spades. And they sounded great (and were not using that old wood). Just not enough strings. But they totally ticked that box. If I were to A/B one of theses Bravewoods against my 66 then they would be different. Not better, or worse, just different. Two different flavours of great. And as soon as we subjected either to Guitarmageddon and a Drummer then any of the subtleties would disappear without a trace. And I suspect that working out which was which in a blind test would be virtually impossible. Two 66Js from Jan the 5th would be different from each other. The infamous Bass Bash where someone played 17 gazillion basses behind a curtain and virtually no one could tell the difference between them was very telling. On a straight up plugging in and recording or playing metric, my newer basses are better instruments. And I have played/owned the good, old stuff so am at least entitled to an opinion. Of course, there are other metrics in play here. It is arguable that 1 bass which can do ALL the tones will have the owner spending more time sorting the tone than they would actually writing and playing that killer song/riff. There is a discipline created by limitations which means that the creativity has to be directed in a different direction. Any bass you can buy now, once it is set up will do all we need. We would do well to get over ourselves and actually write music. I am talking to myself here more than anyone else. This stream of consciousness rambling has been brought to you by an empty staff room during my lunch hour.

Very much so. I cannot get enough of the good stuff. But mainstream Pop is not exactly pushing the boundaries harmonically.

I have experienced poor organisation in church and secular situations. Present day worship songs are not very different to mainstream current pop in harmonic structure.