chris_b

I can't really say much about auditions. The last time I passed one was in 1985. Since then I've done 3 more. I turned two of them down and the one I wanted turned me down. Bugger! On the plus side, I have been gigging continuously through word of mouth, since 1985. I guess that means I'm better at gigs than auditions. I'm no expert but it seems to me that you'll stand a chance if your face fits, you can play what they asked you to learn and don't sound bad.

Yep. . . . plus Have You Ever Seen The Rain.

I wasn't going to mention it. . . sadly, this list bears a resemblance to the joint selections of a band I played with last week and one I'm with on Saturday!! They are all good pro and ex-pro players which alleviates most of the "tiredness" in the material. I never thought I'd have to be learning Creedence songs at my age!!

As I say, play them "your" way. Alright Now with a Jimmy Smith Hammond vibe and a different arrangement might just work. At least it won't sound as tired as a million bands trying to emulate the original. I used to play Stevie Wonder tunes with an acoustic guitarist (in a duo). The songs were different but a good song is a good song no matter what instruments are playing it.

Why does the guitarist leaving mean you can't play songs that were recorded with a guitarist? In my bands we play songs that had brass sections and orchestras on the original recording.! You'll always have to ditch some songs when a key member leaves, but just adapt the set with the keys taking over the heavy lifting. He will play different lines and the dynamic will change but you can chose any songs that you can play. Do them your way and make them your own.

I believe this cab had a reputation for being woolly and boomy (ref Talkbass)

I play in a number trios and the number of members of the original bands has never crossed my mind when we come to choosing songs. When we strip the song down, it just has to be a good song, the audience has to like it, it has to suite out style and we have to be able to play it well.

Don't confuse your personal preferences and prejudices with the audiences idea of a good song.

I saw GP at the Albert Hall with Dave Gilmore at the end of the last tour. Great sound through a great sound system. So, you could tell me how GP's sound is being managed here, with Nick Mason's band.

To make collecting anything make money for you you either have to be in at the start, very knowledgeable or very lucky. Casual collectors are usually none of those things and are just fans accumulating stuff they like. None of which is going to make them rich. Your initial outlay will tie up a lot of your cash and you'll have to invest a lot to get back peanuts. Modern high volume manufacturing methods will probably ensure that none of today's basses will increase in value like pre-CBS Fenders or Wal basses. I don't see any basses, even the custom builds, making any money in a collectable sense.

No. The price is none of your/my/anyone's business. The seller should not have to face trolling over his price.

OK. Then I'd suggest you raise it off the top of the amp in some way or put it on a chair at the side. I think it would be a revelation to you to actually hear the clarity of your 210. Being placed under your combo the way you have it now is probably firing most of the 210 goodness you think you are lacking straight past your ankles.

. . . . and don't forget Fats and His Cats!

4 + 8 = 2.67 in ohms speak. I believe Stew was running 2 8 ohm cabs, which puts the same power into both cabs, which makes the 110 the limiting factor.

My 4 ohm 210 and an 8 ohm 110 Barefaced cabs sound great together. Need a 2.67ohm amp though.

Really? Woody Guthrie, Dead Kennedy's, NWA? Depends where you look.

In the 60's a bas player called Binky McKenzie used to put Vaseline on his left hand so he could get around the neck a little easier.

When? The pendulum has swung back and forth so many times. TheGreek has already listed many of the high points. There was Rock and Roll, Blues and R&B, all high points in US music. The 60's and 70's studio bands in the US are my favourites. OK they may not be bands in the strictest sense but any road band that went out and gigged these songs is the top of my list. Any genre of music that could have been picked by the Blues Brothers is right up there. British bands in the 60's were world leaders in popular music. Then there was Cream and Jeff Beck who started Heavy Rock. Then Sly and James Brown who started Funk. I can't pin-point one style or location. The US and UK have inspired each other.

You can do all that stuff. . . but how about not digging in so hard? I can do 4 set gigs or 5 gigs in a week and the washing up on all of those days and my fingers are fine. I don't have hard skin or callouses. As far as I know the only difference between us is I don't pluck the strings hard.

All of those preamps sound great to me. I've owned the Aguilar and Sadowsky, plus Lakland/Barts, Wal and Stingray. They are all shades of greatness, but if you have good ears you can make most basses sound "good enough" and you should be able to make a good bass sound excellent. I know a guy who is using the East Uni-pre with Bart pickups and he is getting one of the best bass sounds I've heard. On the other hand another player I know gets a totally different, but equally good, sound with an old passive Fernandes Jazz with foam under the strings, a home made bass cab and a BB800. I always sound like me, but I'd kill to sound like either of these players. I upgraded my P bass with a Bart pre in the 80's and I have to say it didn't set my world on fire. It was only marginally better than the previous passive set up. If you've replaced a preamp and are using it passively then I'd suggest you bought unwisely. IMO passive basses can sound as good as active basses. On recordings of my passive Lull PJ5 you wouldn't think a preamp would make it any better.

You're listening to your super clean small PJB rig and comparing it to a large lump of a rig from a previous era and it's not surprising that you're hearing a lot of differences. I gigged an Ampeg SVT3 PRO for nearly 10 years (they're good, but IMO these days you can do better), so I'd suggest an Aguilar TH500 or Quilter BB800 would get you into the ball park. The sound of a big old Ampeg cab would be more difficult to replicate, but IMO (again I think you can do better) I would prefer something like one of the Barefaced 10's, maybe the Two10 or Four10.

IMO a 410 will give you a different sound, but not necessarily better. Depends on the cab. If you want to improve what you are hearing, try putting the Two10 vertically on top of the combo. You'll then be hearing all the clean Barefaced sound, which is what you're not hearing with your current cab placement.

Is a sale thread the place for a discussion? I don't think so. Negative or controversial opinions are not really relevant. The guy just wants to sell the gear and should be left in peace to do just that. I'm all for questions. I don't believe how obtuse some threads are!! Positive comments are good like, "He's a good guy to do business with", or" I've got one of those and they are great instruments". But anything that undermines the sale, like "I owned this and I hated it", should not be posted.

IMO two 112 cabs can make a great sound. Many years ago, I had 2 GS112 cabs and sold them because, while they weren't particularly heavy, the single handle and deep box shape made 42lbs a very heavy and awkward one-handed lift. I've been using Aguilar amps for a few years now, TH500/AG700, and they are just a great sound. I haven't been back to Aguilar cabs but would recommend Bergantino cabs. They just worked so well with Aggy amps and now I use Barefaced cabs. IMO another step up.

Your amp with a second Two10 would give you as much tone, volume and head room as you could want. The reason good cabs sound better than others is that the drivers have been put into a cab that has been designed to bring out the best in their sound. Putting the best drivers in the world into a "box" that has not been designed for them could sound good but is more likely to sound very average.