chris_b

If I did gigs where I was worried about the safety of my gear I'd be even more worried for my own safety. Fortunately I haven't done gigs like that in a long time.

Nope. Everything I buy is to be gigged, as often as possible.

No Treble has bass transcriptions.

No songs. I was trying to play guitar and couldn't, because it was a very badly made, cheap and rubbishy Spanish guitar with an action so high I couldn't hold down any chords. . . . but I could play bass lines. I then discovered I could play bass with my friend playing his Futurama guitar. What we played is lost in the mists, but I seem to remember some Bo Diddley songs being played at one point.

The requirement for a single cab that goes louder will reduce your choices. A Greenboy cab is a good call but they are not the lightest cabs out there. I'd suggest a Barefaced 112. Light, loud and easily transportable. Also you get a 1 month return period so you can send it back if you decide it's not for you.

These basses are custom orders. Within reason the customer can have they want on it.

If you are pushing the low end and want to be louder you'll need headroom, ie need a comfortable margin in the performance of your speakers. I'd be heading towards multiple 112 or 210 cabs. A 110 on its own won't support your sound at high volumes. What amp are you going to use?

I put Bartolini pickups and pre amp in my old P bass at the end of the 80's. Improved the sound 1000% over the original vintage Fender stuff. In active basses my favourite pre amps have been a Wal in my Wal mk3 5, Bartolini in my Fender P and Lakland 55-94, Aguilar in my Lull J5 and IMO the best of the lot a Sadowsky in my J5. I buy a bass because of the sound and feel of the whole instrument so the individual bits and whether it's active or passive doesn't interest me much. The boost only Sadowsky took some getting used to but always produces a great sound at any setting. On the other hand, my passive Lull P bass with its Lull custom SD pickups sounds better than many of the active basses I've owned.

Because that and gigging is his day job.

I've seen a couple of guys using PJB cabs and they sounded pretty good to me. I'd still go for the multiple 112 cabs though.

Have I read this right, your wife doesn't like you dumping your gear in the hall? So don't do it. Sometimes my gear sits in the hall but usually I'll load the car without using the hall as a staging post and I always put the gear away after a gig. My wife's pretty good. She has more stuff dotted around the house than I do so we have an equilibrium. But as I have commandeered a biggish part of the front room for my gear my aim is to keep life as confrontation free as I can.

Not me!!

. . . . and another 30% if they moved production to China, but why would they want to do that? Their business model works. The company appears to be very successful in making high quality hand made custom bass guitars. They probably have a waiting list of several years so why change anything? The original question is naive. Why do Montblanc pens cost more than a Bic, why do Bentleys cost more than Dacias and why did Abramovich pay £340,000,000 for his boat when he could have been messing about on the water in a Bestway Lite-Rapide X2 for £140? I understand that people can love McDonalds rather than steak but why would McDonalds lovers think they have a point in questioning the existence of steak and the people who want to eat it?

Yep. Totally subjective which is why I don't understand the level of ire being expressed. I wonder how many have actually read the interview or are just reacting to the question posed afterwards.

Daltry's definition of Rock probably doesn't include Brit Pop or the Ramones. The bands who started Rock in the late 60's and early 70's were special and unique. Al Krow asks a question that is different to what Daltry said or probably intended so don't think Daltry said there was no good music after 1971.

I made the same comment about the jack socket interfering with the clean lines on Talkbass when the model came out several years ago and Fodera replied that a side mount would have interfered with the way Anthony Jackson holds the bass as he plays sitting. So basically it's his choice. About the price. It is what it is. This is an instrument made to a level of detail and quality that is unique even in the boutique bass industry. It is plainly more than wood and strings. As with any product at any level the price reflects the intended market. On the other hand they are dead cheap in comparison to the prices of classical instruments . I have played a couple of Fodera basses and it was a special playing experience. They are stunning.

Looks like it's a non-problem, but the only wisdom I have is to suggest you direct the question to Alex at BF.

If this is true don't keep it.

Ask any drummer what they thought about the kits provided!!

Most 212's will sound good enough for a rehearsal space. If moving cabs is an issue I'd look at some good lightweight 112's. For very loud bands I used a Berg 312 (212 and 112 together). I only need 2 of my new "super" 112 cabs to reach the same volume.

They'll have to be giving it away, more like.

I spent way too many nights with countless bands in that place. Maybe condemned by the Council, at last.

It wasn't mine, but yes one of these was the preferred cab in that shoot out, and IMO rightly so. I still miss it but even though it was only 46lbs my back was beginning to complain. Bergs are quality cabs with a fantastic sound in all of their ranges and formats.

From Charlie Parker to Herbie Hancock the Jazz greats all trade 4's. Isn't it another arrangement device to feature players "doing battle" in Jazz? The great Blues guitarists (T Bone Walker, Clarence Brown etc) used to "battle" and I believe it still happens in Rap.