chris_b

Mick Fleetwood and John McVie Laval Bell and Reggie McBride with Keb Mo Ricky Fataar and Hutch Hutchinson with Bonnie Raitt Ringo Starr and Paul McCartney Lyn Williams and George Hawkins with Delbert McClinton Max Weinberg and Gary Tallent with Bruce Springsteen

You don't get good music without a good drummer and a good bass player is the heart and soul of a song. Put the two together you get a great band.

Al Jackson and Duck Dunn at Stax Roger Hawkins and David Hood at Muscle Shoals Steve Gadd and Nathan East with Clapton Hughie Flint and John McVie with John Mayall Gene Crisman and Tommy Cogbill and Mike Leech at American Sound Benny Benjamin and James Jamerson and Bob Babbitt at Motown Ginger Baker and Jack Bruce with Cream Mickey Waller and Ronnie Wood with Jeff Back

The pickup on my 68 P bass sounded pretty anaemic. Sadly not one of Leo's finest. The Barts that replaced it sounded much better.

Can you not get it by ear? Chorus A // B | A | D | A | A // B | A | F D | A // B | A | Verse A C | D | G | A | A C | D | G | F C B |

Your Traveller is a small cab and so will attenuate the low end. The 112 cabs are bigger so will sound bigger and lower if you don't control the EQ. Sounds like you're pushing the EQ to far. Dial it all back. On my LM2 I had the controls at noon and the 2 filters off, that's fully anti-clockwise. It made a great sound for me.

I've been using OBBM/Dave's instrument and speakers cables for years.

It has, although it was seen as limiting and dropped in favour of notation about 1000 years ago.

IMO these basses are great instruments and the preamp is the usual place where upgrades start, but how about upgrading the pickups and turning it into a passive bass?

No, because tab is an incomplete and limited system that, so far, only seems to relate to a limited set of stringed instruments. How does tab on a piano or trumpet work? They don't write novels in short-hand because there is a much better way of expressing yourself, words. Notation has developed over that last 1000 years to be be a comprehensive system of writing any musical idea for any instrument. It's complicated and tough to learn, but that's what lessons are for. That you and most of us have got this far without notation and tab is probably an indication that neither is really a requirement for a Rock n Roll bass player.

The beauty of notation is that it gives you all the information you need to be able to play any piece of music on any instrument, from Mozart to nursery rhymes. So far I have not seen any tab that does that. If you can find tab that is as comprehensive as notation it will still be a complicated set of instructions and you'll still have to learn it. If you really want to learn any skill and are having difficulties, get lessons. When I left school I could sight read music, at a basic level. I've forgotten most of it since but, IMO at the semi pro level in a Rock n Roll world, the really useful skill to be cultivating is playing by ear. If you can hear the notes then you don't need tab.

His website says, "He's s one of those geniuses that flies under the radar". If he can talk us into buying this bridge for $158 each rather than the current boutique bass favourite, the Hipshot A style for just £99, does that make him a genius or does it make us just plain gullible.

As long as the DB sounds good through the MB, that would be my choice.

Markbass would be on my list too.

A few years ago I tried the Suitcase and found it a very awkward lift. It has 2 handles and trying to use just the 1 handle doesn't work! I also preferred the sound of 2 cabs rather than just the 1. My preference would be for any of the 112 cabs (Mesa, Genzler, Aguilar, Bergantino, the Greenboy cabs in the classifieds or Barefaced ) on the market rather than the Suitcase.

I've just had this. The band leader told me I was playing one of his originals wrong. I asked him to play it the right way and then had to tell him it wasn't anything like the mp3 he sent over! I told him I could play whatever version he wanted, so which one did he want. He insisted the mp3 was right. I sent him the mp3. Silence since!! To the OP, get him to tell you exactly what is wrong and what he thinks you can do to put it right.

When my Mesa 400+ was playing up Mesa Boogie, Westside and the Bass Centre did a very good job of looking after me. I don't see lots of posts about problems with amps where manufacturers and distributors have failed the customer. There are a few but probably less that I would expect.

If you feel a jam night is cliquey, don't walk away, join in, became part of the clique and make it less cliquey.

All my basses were sold because I had just bought a better one. So, I have never bought back an old bass.

Dunlop 65. Not very frequently!!

The only amp failure I had, which required contacting a distributor, was an all valve Mesa 400+. Westside were very good to me in sorting out that situation. Like most customers, I have never had a problem with SS or D class amps (fingers crossed). Thanks to Agedhorse for giving us some background to the technology. Seems to me the OP hasn't been dealt with badly by the other parties in this, but is unlucky to be one of the very small percentage who has suffered a failure with this technology.

Just checked. The last cover band gig I did we had 32 songs in the list. That's 16 songs a set, with not a lot of waffle in between,. Some were extras, so we probably played about 12 of them.

We used to plan for 9 songs a set in our Blues/Soul/R&B band. Having 2 guitarists and good arrangements helped. Even 30 seconds of any slow blues makes me want to leave.

Have you bought it yet? Have you?

Bother. . . Paul Herman. Of course!