chris_b

[quote name='blue' timestamp='1509641310' post='3400551'] You guys might disagree, but I contend there was no decent bass amp until the SVT was released. [/quote] Well over here from the mid 60's on, we had Marshall, Sound City, Hiwatt and Orange amps and cabs. I'd say the sound of those amps and the bands that used them created and defined the sound of Rock.

I've played through various amps with Ampeg 810's in rehearsal rooms. They always sounded good. Take your amp and try it.

IMO the rehearsal room is for working the band together as a unit, not about the sound. I toured with an SVT and even in impossible places it always sounded great, but then it always sounded like an SVT. That was my sound back then but if it's not yours then you could be disappointed. I've never found an Ampeg that does clarity like my Thunderfunk or AG700, which is what I prefer these days. There's always the noise of playing, ie rattle and buzz on the frets, it usually fades behind the notes on a gig. Even now running through songs in my front room through my 110 there's clank, scrape and fan noise. It doesn't get in the way of learning the song and isn't heard on the gig, so I ignore it. IMO SVT's are great but way too big to be a sensible choice without the help of roadies. I couldn't even lift a Barefaced 810 on my own and that's the most sensible "fridge" that's ever been built.

I've always been a Fender P bass guy and I've owned a Fender Precision for 48 years. It was my only bass for about 25 of those years but it was never even close to perfect. I don't worry about perfect. I get the best I can afford, play it the best I can and that'll sound as good as I can sound. That's as perfect as I get I'm afraid. I'm currently using an active Sadowsky J5 and a passive Lull P5. Even they aren't perfect but they are the best so far.

After about 2 years, I replaced my Spanish guitar with a Framus Star bass. It cost £22 and some change. I worked for 5 1/2 days a week for 6 weeks on my Grandfathers nursery weeding, digging, planting and boxing fruit and flowers to afford that. I had to wait until the next years summer hols (at the Kiwi Shoe Polish factory) to earn enough to buy the amp. Did anyone own an amp called a Nashville? 60 watts? My first amp and it sounded beautiful.

[quote name='obbm' timestamp='1509536612' post='3399663'] . . . . there were no tutors or internet back in 1963 so I bought just about the only tutorial book available and set out to learn some scales. [/quote] Wow Dave, a time warp moment . . . I bought that book as well. I don't remember it teaching me anything useful though. edit . . . spilling!

[quote name='kasbridge' timestamp='1509478619' post='3399321'] Last year I decided to go lightweight and bought a TH500 and a couple of Barefaced BB2 (Gen3) - interested in whether or not this setup could be bettered [/quote] IME you get to a level when "better" stops happening. You can replace as much gear as you like but all you are doing is sounding different. I've been very happy using a TH500 and 2 Super Compacts for a couple of years now and I just upgraded to the AG700. The new amp is a monster. Maybe you should try one of the AG700's. Personal preferences can take you down many paths but as for "best". IMO you're there.

Always a great sound, but then it was probably worked on for weeks back at DG's studio.

When I started I played bass lines on a Spanish guitar and an amp was out of the question. A friend used his parents radiogram instead of an amp. Today's rubbish gear is sheer luxury compared to the gear we started on back then.

[quote name='Barking Spiders' timestamp='1509452391' post='3398992'] The intention behind this thread wasn't to slag off AC and others but find out if they're genuinely able to play stuff that's more demanding than their day jobs require.. [/quote] Understood. I don't think any of these comments are aimed at you.

[quote name='rushbo' timestamp='1509300514' post='3397897'] Going slightly off topic, but.... When Boz Burrell joined King Crimson, Robert Fripp had to teach him how to play the bass. I'm a huge Beatles fan and a staunch defender of Ringo. When people trot out the rather dreary "Ringo was crap, wasn't he?" line. I'll ask for a specific example of a "bad" Ringo drum part. I've yet to get a decent response. You could do the same with Adam Clayton, Alan Lancaster or Cliff Williams. They make the band sound better by providing a solid foundation for the guitarists and vocalists. Is Vic Wootten a better bass player than Adam Clayton? I think so. Adam Clayton would probably agree. Would Vic Wootten be a good fit in U2? I'm not so sure. [/quote] +1 People without much insight usually equate simple with easy and easy with bad. They are just highlighting their lack of understanding. Many years ago I used to watch Boz playing with the Chuck Farley band in the local pubs. He was good but wasn't the best bassist on the circuit. VW compared to AC? Put them in each others bands and they wouldn't cut it. What that proves is. . . . absolutely nothing. Ringo was one of the two most influential drummers in rock. The other being Earl Palmer.

I used to meet up to buy or sell gear and the chat was usually about BC, bass playing, gear or gigs. Now we usually cut to the chase, aches, pains and lightweight gear! Sign of the times.

Ah! I missed that photo. Cheers.

When importing, plan on 25% and getting some change back. Be aware that if US customs get involved they will probably impound this bass (rosewood fret board) if it doesn't have the correct paperwork. These are fantastic instruments, but why no pictures of the headstock repair. That would be a deal breaker for me.

I owned 2 Wals, a mk2 5 string which I sold to fund the mk3 5 string. 2 of the best basses I've owned and I regret selling them. Sadly another is out of my price range these days. Are they worth it? A 2 year waiting list says they are to a lot of people. For me they were the best bass for studio work and they just owned all my original bands. I preferred my Lakland and Lull for the covers and blues/rock stuff so the mk3 was finally sold. Ho hum!

[quote name='mikel' timestamp='1509308632' post='3397994'] No one at a lot of live gig's notice the bass player because the sound engineers eq the bass drum so it takes up all the bass frequencies, and you cant hear the bass guitar at all. [/quote] That's why you sit in the low mids and dominate the mix from there.

I know the OP was humorous, but Bilbo, you've got to turn up. . . . and leave all those bloody pens at home. I had a guy come up in the interval and say, "That bass sounds great. I'm not listening to the rest of them, only that bass." I really like compliments. Rule of thumb: Do the best you can with the best gear you can afford and make them notice you.

[quote name='solo4652' timestamp='1509269910' post='3397634']Righto then. Let's ask everybody else, shall we? [/quote] That's a dangerous ploy. I should have seen that this wasn't going to end well, but I once I asked a band leader if we could drop a song. "OK", he said in an irritated way to the rest of the band, "Are there any other songs we don't want to play then?". By the time everyone finished we had 4 songs left and they had voted down all my favourite numbers! That band didn't last much longer! Sometimes democracy isn't a good thing.

That's Norfolk for you!

[quote name='bazztard' timestamp='1509247345' post='3397535'] if you are young, go for it, it'll be an experience if you are older, around 56 like me, well, life is too short from here on in to waste even a SECOND playing stuff you don't want to play a band is a democracy, if the other members want to play this stuff, you have to let them know that you don't . If they don't offer a compromise then it's time to move on [/quote] Except, I'd say that life is too short to be sitting around trying to find the next band when you just threw your toys out of the pram and quit. Our playing years are limited so make the best use and get gigging. Also Many bands are not democracy's. Almost none of the successful ones are so refusing to compromise (and walking away as a result) is a fault in my book not a strength.

You've got this far without reading so I guess this isn't a skill that is necessary to your bass playing. If you're looking to take your playing abilities further I'd have some lessons and extend your technique in different directions.

I'll get a set list; check the keys and versions we're playing; listen to the numbers and write out charts; play them as much as I can; sound good so (hopefully) any mistakes won't matter too much!

If a new guy is good enough he can make new rules. If they are "better" than the old rules go with it. Then again, what do the audiences think of this new direction? Is it working? If it is then my instinct would be to go with it. IMO it doesn't matter who's calling the shots. . . . as long as they are good shots. This is always going to be the problem facing the "fun" player who wants to play some of their "favourite" tunes with some "mates". You can't leave every band when you run into something that you don't like, cos there's always [i]something[/i] not to like! I never want to play my favourite numbers in bands. That way I'm never upset when they mess them up or fed up when they drop them. Never mind what it was, is this a good band now, with good players? I'd stick around.

+1 Either would do just fine.

16 ohm and 8 ohm cabs equal 5.3ohms so can be handled by any SS or D Class amp. The 16 ohm cab will see 33% of the power and the 8 ohm cab will see 66% of the power.