chris_b

I would expect this Rumble to be half the volume of your 410. If that's going to work then OK. You still have the option of getting a second cab. I'd go the whole hog and order a Barefaced 410. This cab will work for the big gigs as well as the smaller gigs. Small, light, loud and great tone. More expensive than the Rumble but several leagues above.

+1 I'm doing some gigs with a Chicago Blues Band. I haven't played this style since I was at school. It's pretty much, find a line that fits and repeat ad infinitum. While there are limited opportunities for being creative, it's quite a discipline to get it right and just make one line work for the whole song. Makes you concentrate more on how you play rather than what you play. You can improve your abilities in any situation, even playing things you thought you already knew.

What have you got?

I've had Dunlop Straploks on my basses since the 90's. I've put them on every bass, but they come as standard on Lakland's, Lull's, and Sadowsky's and many other US basses. They are also rebadged as Allparts Strap locks at half the price. I've never used them, but Grolsch washers apparently work well. Be aware if you are getting replacement strap locks for the first time. In the last 20 years I've seen people reporting problems with Schaller. Dunlops are fine, but the Schaller screws often don't fit into the existing holes very well and can work loose, causing the bass to hit the floor!

Melvin Dunlap and James Gadson were the rhythm section on Charles Wright and the Watts 103rd Street Rhythm Band classic, Express Yourself. https://www.youtube.com/watch?v=-Bv4eRhKNMc

My preference for string spacing at the bridge is 18-19mm. That's what I am used to after many decades of playing Fender basses. I prefer my 5 string basses to be the same. I was given a Yamaha to play on a fly gig and it took me 2 days to get used to the 16mm. I didn't enjoy that experience one bit.

My current go to Jazz bass weights 9lb 5oz (4.3kg). Most days I can get through a 2 set gig with minimal problems, but did a couple of 3 set gigs last month which killed my back by the time we got to the last number. 2020 looks like being my year for buying an even lighter bass.

This. Sadowsky have a legendary reputation for their QC, fit and finish. If in future their basses are going straight to the customer from Germany then do they get Warwick QC or Sadowsky QC?

Was this Lonnie's high point?

Suddenly I don't feel so hopeful about Sadowsky basses going forward!!!!

I'd suggest getting a 5 with the same string spacing at the bridge as your 4. Is there anywhere local where you can you try a Squier or Sire? Whatever you buy get a good set up and it will be easier to play. If you want to give a 5 a fair go you need time to develop a new muscle memory and muting technique. Put your 4 string basses away and only play the 5 until you get over the "it's different" and "uncomfortable" stage. At the start I tried to switch back and forth between my 4 and the new 5 and caused myself a lot of confusion. Then I put the 4's in the case and by the time I got to the comfortable stage with the 5 string I never went back.

Sadowsky had been trying to get the new factory made Metro Express up and running as an in-house project and seem to have met with a few problems. I guess handing it all over to a company experienced in production line manufacturing and world wide distribution and management will resolve all those issues.

Metro's to be made in Germany now!! He's cutting out the Japanese side of the business?

I understand that point of view. If the band is playing those kind of tricks, just go as soon as you find out.

Your rig looks fine to me. But if I have to recommend another, I'm currently using an Aguilar AG700 through 2 Barefaced cabs. . . . . . . and no pedals. I don't need any in order to get a great sound with this rig. Start with a good amp and one cab and see if you need the second one. You probably won't.

They forgot to put a mic on the bass!!!!!

What scale? Do they do a low B?

My comments were more directed at some of the guys advising you.

I don't think stupidity comes into it. Seems to me you guys are A level students trying to come to terms with a Masters degree course. You would probably get more out of this course if you had some prerequisite courses leading up to it. I would love to play at this level of ability, but I just don't like the music that these guys play. A year spent playing and understanding what's behind Nate Watts, Roscoe Beck or Joe Dart bass lines, for instance, would be a much better project for me. Those styles are more relevant to me and how I play.

Revenge can easily backfire. If you plan to let them down at the last minute, what do you gain by doing that? If you think they are aholes don't stoop to being one yourself. Stabbing the band in the back could make you look bad when you're not. Be the adult in the room and understand that when you are working with amateurs, especially in bands, stupid stuff happens.

9 mins in and. . . . the best thing I've heard this year.

Wow. They've got to the tufted Wilton stage of their career!

Even if you are not bosom buddies, keeping things friendly is all part of networking. And a good network of contacts will get you better gigs than auditions.

The carnet also prevented you from buying or selling gear abroad, and possibly avoiding paying taxes in the process.

IMO it's a bad idea to burn your bridges. One of the guys might join another band in a years time and be looking for a bassist. So always leave amicably.