chris_b

I'm currently getting a fantastic sound out of my PJ5 through an 800 watt Thunderfunk and 2 Barefaced One10's. This is in my front room and the neighbours don't hear anything.

I haven't been to BD for a few years now. I bought a lot of stuff from Mark in the early days, when he was selling from his band's rehearsal room on the farm. Mark has chosen a tough road by only selling top quality bass gear. I have nothing but positive experiences from BD and I hope he survives the trade "nuclear winter" that might be on the horizon.

I guess the whole country will have to stop playing Rolling Stones songs? This trial by smear campaign is pretty sad. Start to take interest when there is a court case and make your decisions if anything is proven.

The price of my brand new 400+ was just shy of £1500 in the late 90's. The Bass Centre ordered it for me and were surprised to find Mesa dictating the price to me and their mark up. I have no idea what Mesa do now but back then they had a reputation for rigidly controlling the prices of their products.

Have the MJ accusations been proved? The Ted Heath and Leon Brittan claims turned out to be false. Keep playing the songs you want to play and don't believe anything unless there is real evidence.

Seems he suffered a pulmonary embolism in Oz on the eve of the 2019 season. It's hard to remember F1 without him. Very sad news.

I have used most DR strings and settled for either steel Lo-Riders or Hi-Beams. I used DR for 10 years or more, recently I've been trying a set of D'Addario NYXL strings on my Jazz. I'm probably switching to the NYXL's. IMO they match DR for feel, tone and longevity.

At 2.33. . . . . looks like a Jazz to me. Some nice simple and direct bass playing here.

Aston Barrett was rather good on his Jazz basses and there is a Reggae player on here who plays Alembic basses. There are no secrets just get a good feel and forget the stereotypes.

When I depped in a band many years ago I caused the regular bassist some "problems", when the band leader wanted him to sound just like my 5er playing a riff starting on the low D. I believe he had to drop down a tone, which he didn't like doing at all!!

I have 2 basses and 2 straps, permanently attached and never taken off. Plus 1 spare carried in the accessories case.

You've gone from "woolly" to a razor sharp clarity, from a narrow, shallow sound to a wide, broad sound . . . . I'm not surprised that a BB2 sounds different to your Ampeg 115 to the point that you're unsure what you're hearing. You've gone from one end of the sonic scale to the other. It's not unusual when you upgrade one link in the signal chain that you highlight weaknesses in the other links, but in this case IMO you've just got to learn how to use what you've got. Get familiar with the step change in sound quality. I run my amps at 8 ohms all the time, that's 250 watts into my Super Compact and I have no problem filling the room. Alex suggests 150 watts as the lower end of the BB2 power requirements. I'd suggest your amp is fine and you're just on a steep learning curve. Maybe you need some help. Do you know anyone who can listen to your sound, or play while you listen?

I prefer the sound of my passive Precision. In my old fashioned estimation a preamp doesn't add much of what I want to hear in a P bass. IMO pre-amps are a great option for a Jazz or 2 pickup bass. But just because you have them doesn't mean you have to use every last ounce of the controls. Use them sparingly and they can be a nice addition to you sound.

I don't know the strings (I would guess it was the bottom 4 of a 5 string set) but the instrument was a regular Fender Jazz bass. We've never discussed it so I don't know what made him set up his bass in this way.

If it works, great. I know a player who's using C F Bb Eb on a 4 string jazz!! I use the G string as much as the B string so it wouldn't work for me.

Aguilar TH500, AG700 and a Thunderfunk amps have always given me a great sound through Barefaced 210's and 112's.

Sorry to hear such sad news.

What TC amp are you using in the rehearsals? Where is the volume control when you are playing? If your guitarist is anywhere near right with his 30w estimate, then you're playing at a much lower volume level than I expected or I have experience of! My thinking is - a 500 watt amp will be putting 250 watts into an 8 ohm cab and you don't want to be pushing an amp hard, maybe no more than half way on the master volume control, so that means you are using about 100-150 watts of clean power. Holding a lot of the amp's power in reserve will give you a thing called "headroom" which gives you a cleaner and clearer sound. depending on the soujnd you are after that can give you a "better " tone. IMO while combos have a level of convenience, they will be a heavier lift than separates and they have the disadvantage that you have to sell the whole lot when you want to upgrade. There are no stupid questions. Keep asking and you will build up your knowledge.

There are too many parameters involved here to know what was happening, but if anyone can't get a good sound out of an active bass, they should be looking at the way they are EQing their sound.

So what is your budget? I can suggest a light, loud, one cab solution but it might be more than you want to pay. I'd suggest an 8 ohm 112 and 500 watt amp. That gives you the ability to be loud enough with one cab and add a second cab if you want to sound bigger and better.

If it doesn't apply to you then fine. I wasn't calling out anyone in particular. You should read some of the posts here and on Talkbass. It's usually tied in with vintage, valve and big gear being "better".

I think you're right. I've changed my mind. Making music qualifies someone to be described as a musician. There are those like me, who make music, and those like Ed Sheeran, who I'd describe as "artists". They have a level of creativity that I can only dream of. IMO ES is a fine songwriter and performer.

I'm not sure at what point we qualify for the term musician. Maybe it's when we start to play with other players.

Heft is a description of bass "sound" that makes those, who think they have it, feel superior. Having it or not is largely an argument had by those who would better spend their time improving their playing.

The 3+1 and 4+1 headstock's are a design which keeps the head smaller and reduces the likelihood of neck dive.