chris_b

Mismatched and disastrous gigs? I've done a few. We were a Chicago blues band and the brides father booked us for his daughters wedding. Apparently he thought we were great! We spent the night playing in an empty room and they all stood chatting in the car park. We played in the Ladbroke, a pub now long gone, every Friday, Saturday and Sunday and brawls just like in a John Wayne western would regularly break out! We were so surprised and shocked at the first punch up we stopped playing. The landlord rushed up shouting, "Keep playing or they'll turn on you!" We played right through without stopping after that. We were playing in the Officers club on a US Air Base in Germany in 1971 and a Captain got up to sing with the band. He was great. The best voice I've heard but we were fired on the spot. The other officers wouldn't accept him singing with our white girl singer. . . because he was black!! They complained to the club management and threatened us and our gear, ffs! We were playing the Windsor Castle, Harrow Road and the singer didn't show so the 3 of us decided to carry on. We played a few instrumentals, all sang (badly) and asked if anyone in the audience could sing. A guy in a suit got up and sang a version of Little Richard's Long Tall Sally in the style of Stanley Unwin (Google him). Then a girl got up and offered to do a strip to Green Onions. Well we thought she was a she! He was actually going through gender reassignment and while he had real boobs added still had the meat and 2 veg. That was a very enlightening 10 mins and the moment when he/she whipped off her knickers has stayed with me for the last 40 years.

Firstly, what kind of Blues Band is it? I've been in and out of bands like this over my whole playing life, and have mostly used a clean sound with the range that you can get from a BB2. I'm currently using either Super Compacts and leaning towards my 2 Two10's but I really miss some of the top end a tweeter can give. I've asked Alex for a "bright box" I can add when I feel the need for more top end, but he doesn't see one of those in his product range. Fair enough. To me "old school" just means less top end. I'm a fan of this sound but I also like the dynamics you can dial in with a Jazz and tweeters. IMO this also a great Blues/Soul/Funk tone.

The only thing I'd change would be to get a lighter Jazz bass. My gear has all been bought for a reason. It's all the best for me that I've found, so I would replace like-for-like.

+1 keep doing what you're doing. Most bands are at best temporary. If you and everyone else is happy with the band direction, keep going.

I'll be selling rather than buying in 2019. I want to get 3 amps and 6 cabs down to 2 of each.

Sadly Otis Rush died at the week-end. His songs were a staple of most blues band sets in the 60's and many blues gigs since. https://www.youtube.com/watch?v=O3hrVFvxTfk

I would stand your sound guy in front of your cabs and tell him that's what you want to hear coming out of the FOH. Tell him to stop trying to be creative and just emulate the stage sound.

Are you using a cab?

Twas a fun day for me, as usual. Good to meet up with the usual suspects and a few new faces. So many Basschatters in one place and talking about bloody bass gear!! I didn't hear all of Richard's chat, had to rush off to a gig in Essex, but a big thanks to the team for organising the event, coming up with some good ideas to keep us interested and informed. I'm looking forward to doing it all again next year.

Am I right, your gen 3 Midget is actually the Super Midget? I use a Super Compact and I borrowed a Super Midget (they are different cabs but are designed to work together) from Alex. I ran the two on a very loud gig and it filled the room with huge, great sounding bass. My suggestion would be to get an SC from the Classifieds. Even if you have to get a bank loan. Any rigs that will make you sound better then this will be twice the size.

I have used DR Lo-Riders and Hi-Beams for many years. Currently I have D'Addario NYXL's on the Jazz and TI flats on the P bass.

I'm assuming this is the 112 8 ohm cab? There is one here https://www.musicstore.de/en_GB/GBP/Glockenklang-Space-Art-Cabinet-8-Ohm-/art-BAS0007176-000

Check out good quality straps. Mine are leather and suede and 3 1/2" wide. Neoprene straps would also be good in preventing any tenancy to dive.

Yeah. The "Massey-Ferguson" school of amp design!

The amp section of the portaflex was an elegant, even beautiful, piece of design. I'm sure they will sound good, but it's a shame Ampeg weren't in the same frame of mind when they designed these amps.

I prefer buying CD's and knowing that the artists get's his share as well.

Reading is good, it will improve your timing, reading (obviously) and dexterity. The good thing about reading music is you're not running through your comfortable lines, party pieces or usual stuff. You will be playing different lines and making new neural pathways. Always be working on new stuff and adding to your library of bass experience.

For a great P bass sound listen to Bob Babbitt on Midnight Train To Georgia, Vernie Robbins on Mr Big Stuff and Duck Dunn on Mr Pitiful.

Neither of my P basses have neck dive, but Fender made so may variations of their basses that there might be some out there that do dive. IMO, get a good strap and that will tidy up most neck dive.

I like to hold my music. And my books. If anyone thinks that's old fashioned and indicative of someone who isn't "moving with the times", then I'd proudly agree with them.

That's the bass you're looking out for. The one that picks you.

The two parts, execution and interpretation, will be considered and judged separately by music colleges etc.

Fender are trying to regenerate the company after their financial difficulties, so I believe the new Fender ranges should be a step up in quality. As for the old stuff, there were always lots of good basses in amongst the indifferent ones. You just had to find them. If your budget can run to slightly over £1500 you should be checking out the Sadowsky Metro Express basses. These will/should be an eye opener and a step up in quality to anything Fender have produced in the past.

A factory set up? That's totally uncharted territory for me! I take my strings down till they buzz, then take them up until they don't. After that, if the action is too high or one string or fret is still buzzing I'll probably get the Bass Gallery to level the frets. Whatever they do, the bass comes back feeling exceptionally good to play. My basses only get 1 set up. After that they seem to stay right for years.