chris_b

You don't need the dots. Chord charts and a good listen to every song on the list is all you need.

I found the the best option for me was 1 or 2 amps with 1, 2 or 3 cabs depending on the gig. I have a choice of several interchangeable and independently upgradeable rigs.

I have been on Talkbass since 2007 and have never been abused, slagged off or insulted. Every now and then I've had disagreements and people have disagreed with me. That's life! I've always found TB and the vast majority of its members to be a great source of information, opinion, experience and ideas. There are always things to learn, stuff to agree with and stuff to ignore. Isn't that the point? You take what's good and disregard the rest.

What brought this on? Gratuitously slagging off fellow bass players?

No. The only reason I'd do a gig like this is if the band is full of top players and there is a chance of other gigs leading from it. Other than that I wouldn't touch it with a barge pole.

I think your problem is in the "I take that to mean. . . . . " bit. Don't to read into these posts stuff that isn't there.

I haven't removed them but mine look like a cloth stretched across a wooden frame. From Ampeg to Fender to Bergs I've never seen a front cloth with anything behind it.

There probably is sound transferred through the bone (probably lower frequencies rather than higher frequencies) but take an ear plug out mid set and hear the difference. IMO they are definitely reducing the volume getting to the ear drum.

I've heard this comment in relation to Precision basses, but so far, not about Sadowsky Jazz basses. The tone of my Metro does change gear when the volume comes up. Maybe that's what we're talking about. Go louder and the sound, the clarity, the low end just keeps getting better. What ever Sadowsky did with that pre-amp they got it just right.

+1. And always idiot check the idiot check.

Very nice. Do you have OBBM cables? That's something like the all English rig I was posting about a month or so ago.

This is the thing. Too much bass kills the sound of the bass. Makes no sense? But it's true. We're not making noise, we're making music with other instruments and the bass always sounds better if we're pushing the low mids. That's where we get definition, punch, full sound, warmth and are able to hear every note clearly. Then we are supporting the band, other instruments and the song instead of making a low noise that no one can hear properly. This is why all the guys who think they need speaker systems to handle the fundamentals of their low strings have completely misunderstood where their instrument sits best in the frequency range of the piece of music.

Just get one. The Metro's are as good as the NYC's, just a bit heavier, because they aren't chambered. You won't play a better sounding bass.

Define "gone"! What drivers does your 210 use? Call these guys and find out if you can get the driver reconed. http://www.wembleyloudspeaker.com/ If the whole driver needs replacing then Eminence, B&C and Faital Pro would be on my list.

Not for years. If you are confident in your ability and those around you you shouldn't feel nervous. Stress and nerves happen when we don't feel in control. I've done my homework so I just focus on the positive stuff, like the anticipation of a great gig, being up for the challenge of playing well and feeling excited that we're going to entertain an audience.

I understand, but that's old Gibson thinking, which is why they had to file for Chapter 11 and why the new management is now having to make some difficult and maybe unfathomable decisions.

You got through it in one piece. Put it down to experience. Learn the lessons and move on.

. . . . or maybe the new management is doing this publicly in order to send out the message that it getting serious about QC and won't tolerate the working practises that the old management thought were appropriate.

It's perfectly understandable that a company will destroy unfit merchandise. The old management had a reputation for less than perfect QC, so the new management has to do a lot of tidy up to do before they can restart the company. No company would put known "bad" products out into the market place, so it's unrealistic to expect that Gibson would. There's a lot of knee-jerking going on here!!

I think they need to tell you exactly what is available and if they are supplying a crew to operate it. Are they insured or do you need your own PLI? Take a mains tester for your own safety.

Why isn't the promoter/organiser providing an appropriate PA system?

I would rather my amp wasn't being vibrated as much as that. I'd put it on something else other than the 215.

Not as much as deafness.

Are we talking about cabs from different manufacturers or different driver sizes from the same manufacturer? It is true that matched cabs can sound good, because they are of the same design so each cab will definitely reinforce the other. Unmatched cabs can have differences. Sometimes those differences will interfere with the sound of the other cab. That might affect the overall sound. If the cabs have been designed correctly they will work together, ie Mesa Boogie and Bergantino. I haven't used cabs from different manufacturers but many times I have used mixed driver sizes (10's & 12's and 10's & 15's) from the same company and got a great sound and yes I listened to them all around many rooms over many years. Pro PA's are totally different and will dedicate power amps and drivers to different frequency ranges.

I use flats on my P bass. . . . and I've got a lump of foam under the strings. I happen to like that Duck Dunn, Bob Babbitt, Willie Weeks sound and the music those guys made with that set up. On the other hand I mainly gig my active Jazz bass with zingy rounds. I only own clean sounding amps. Can't stand woolley sounding gear. I think it's possible to like both/all ends of the tone spectrum.