chris_b

I don't know about the 60's but the Stones touring rig in the early 70's was all Ampeg.

The very impressive Trillion Total Bass Module came out about 10 years ago and hasn't replaced anyone. https://www.youtube.com/watch?v=l1toLihZkDs

Probably sounds like Babbitt because he was the bassist on Tears Of A Clown. The Jackson 5 never recorded in Detroit. Everything they did with Motown was recorded in LA and Wilton Felder seemed to be Motown's first choice for them. I think listening to I Want You Back and comparing it to your memory is not going to be very accurate. Listen to some bass lines recorded with a pick and then do the comparison. I don't recall seeing Wilton Felder using anything else other than fingers, but as we're all guessing I'm going to leave my opinion there.

+1 Over the years I've sold some great gear, but the best gear I've ever played is sitting right here in my front room.

That's what makes him one of the greats.

I agree. I really don't like Wilton Felder's bass sound, but as an A list LA session guy he must have been doing something right! Also I believe he used Precisions in the studio. I guess it's the transistor radio/Dansette record player/car radio thing. The bass had to have a hard sound and be played up the neck in order to be heard, which is also why many players used picks on sessions. This sound is then softened a little in the final mix. These days most of us listen to our music on better players so the way the tracks are mixed has changed, and IMO improved. Listen to I Want You Back, as it was released and they've mixed most of the "ponk" out and the bass sits shoulder to shoulder to the rest of the instruments. A good producer will listen to the track not the individual instruments.

If they all had neck dive maybe it's because they weren't designed correctly.

Anyone can make a mistake! I'd put out feelers for another Berg 112. You know how good two of those cabs will sound.

With chilli sauce.

No, never had that. I never seem to get into that level of detailed analysis. IMO these days it's more difficult to make a bad sound with most of the gear on the market, than it used to be. So far I've never put on a set of strings and thought they didn't work. I used Elites Stadium for a long time (80's and 90's) then moved to DR, on Martin Peterson's recommendation (00's and 10's). A couple of years ago I switched to D'Addario NYXL because of the price and their longevity. There are a lot of plus and minus points when you pickup a bass, but I've never though I didn't like the strings. If the strings are OK that's good enough for me. It's then up to me and the EQ to make the difference.

There is a grub that is killing Alder Ash trees in the US. The amount of Alder Ash that can be used commercially is falling. Edit: Doh! Got the right tree now!!!

Yep. Hounslow. Opposite the bus station

I never went to The Island but I know a few who did. I lived in the Ricky Tick (originally called the Zambezi club), as well as the gigs at Isleworth Poly and the Starlight Ballroom Sudbury Town.

!/2 teacup of bass 1lb fat back drums 2 tbs boiling Memphis guitars pinch of organ 1/2 pt of horns and bring to the boil. Beat well. . . . . . . . . .

I'm a Nola Poboys kind of a player.

I saw it. A lot of indignant huffing and puffing based on very little personal experience. Mob mentality ruled. The RH750 has a 236 watt power section that (after going through their boosting process) sounds as loud as any other 750 watt amp, so rating an RH750 as a 236 watt amp is nonsense. That is the crux. if an amp is as loud as anyone else's 750 watt amp then its fair to rate it as 750 watts. As I understand, TC were wrong to initially label it as 750 watts RMS, which obviously it isn't. What is under the covers is a point that only seems to interest people who haven't owned a TC amp. The SPL that comes out the front of the cab is what matters and where the comparisons should be made.

I had the TC Staccato, which I sold to get the RH750, which was a significantly louder amp. I don't know where you're getting your numbers, but they don't add up to the SPL that comes out of the front of the cabs.

The rattle doesn't come through in a band setting. John Bentley from Squeeze came along to an SE Bass Bash a few years ago and his sound had a surprising amount of clank and buzz in it. That doesn't bother me. IMO it gives the note its definition, a leading edge, and improves how we hear the rest of the note. It's one way of making a bass stand out in a mix. The sound will change when a solo is taken, but during solo's I'm listening to the playing rather than the sound.

I was in a band in the early 70's who had a meeting in a very posh South Ken apartment with a wealthy aristocrat, who was looking for a band to help and "invest" in. Nothing came of it and I can't remember why. Anyway, I later saw on the news we had been talking to Guiy de Montfort. Look him up. We had a very lucky escape.

I'm not surprised. . . . . . . . . . .

If your current set up works, you just need to refocus the sound. Put an Ampeg pedal in the mix.

Am I getting warm if I suggested that was Pete G.?

Was that the Dynacord BS412? If so, I used one for about 8 years in the 80's and 90's. A wonderful sound, but heavier than a large planet. That's when I started using dolly boards for my gear.

I wasn't referring to your post, so I'm not sure what you object to. IMO means just that.

Put this up on Youtube. Go to Settings. Change the playback speed to 0.75. Much easier to read and play at that speed.