chris_b

Some days I'm a P bass and flats guy and I use a Barefaced One10 and my main amp, an Aguilar TH500, if I have to play at home. I haven't gigged with the One10 yet, mostly my bands are full on, flat out loud, but for the occasional small gig I'll use 1 Super Compact. The Super Midget and any Bergantino or Aguilar 112's look like great cabs for small gigs.

Records can vary from standard pitch because after recording someone has listened to the final mix - the band, producer, engineer, management, tea lady - and decided that it sounded better slightly faster or slower. On several occasions I've heard guys say, "This is dragging, can we make it more lively?" The way they do that is to speed up the song.

For about 10 years in the 80's and 90's I played with a drummer who was using a false name for tax purposes. I only found out after the band broke up!

[quote name='drTStingray' timestamp='1505404043' post='3371684'] Sorry to pick on your quote chris_b - but would you guys (and Carol Kaye) be intimating ........ that Leo got this element of the P bass wrong?[/quote] Leo changed almost everything about the original Precision bass so he wasn't perfect . The parts industry certainly wouldn't have prospered so well if he was and neither would the dozens of P and J builders. It shouldn't have taken a genius to work out that after roundwound strings came out in 1966 that there was no point in providing the foam mute as standard, but they kept installing it for years, like the strap button on the back of the headstock and the tug bar. When the likes of Clapton and Mike Bloomfield wanted unwound 3rd strings, in the late 60's, Leo refused to supply them because he didn't think guitars should be played like that! Fender were good but have never been infallible.

[quote name='toneknob' timestamp='1505402709' post='3371672'] I'm Spartacus [/quote] . . . . and so is my wife.

[quote name='FuNkShUi' timestamp='1505390625' post='3371542']I had a Big Twin II. It was huge sounding. It was a little too open sounding for my taste too. [/quote] I sold my BB2 for the same reason. I replaced it with 2 SC's. That's the benefit of multiple product lines. If one doesn't fit the others may do.

[quote name='Kirky' timestamp='1505390035' post='3371529']Quite tempted with the FR800 as my amp is heavy too.[/quote] I'm sure the FR800 is a stellar cab but there are many fantastic light weight amps around theses days.

Mine was in front of the bridge so killed the sound. Everyone I knew removed the foam, even if they didn't take the ash trays off.

That's the power of a good tune.

Would it fit on top of the cabs if they were stacked horizontally?

Alex will give you the facts about his cabs. I don't understand why you would want to put a negative twist on my post.

[quote name='Daz39' timestamp='1505299856' post='3370808'] Every Breath You Take by The Police [/quote] Sting said once he wrote that about all the bad things he did that caused the end of his first marriage. I've seen him give a different story since.

Apparently at sessions he used to put up a sign saying, "You done hired the hit maker". Not sure I could talk to the guy for more than 2 secs but I can listen to him all day.

If you still have intonation problems maybe the bass is slightly out and that is accentuated by the foam.

This Vulfpeck track sound good (and in tune) to me, so foam is fine. I believe Motown tracks were recorded with foam and they all sound in tune to me. My experience back then was to always be asked to put foam in. All the tracks were in tune or we wouldn't have been allowed to keep them. The intonation will be OK, but you have to tune the bass [i]after [/i]you've put the foam in.

You can email him with specific questions and you'll get the facts. That should then put the opinions and supposition in context.

Read what Alex says about his gear on his website. That will tell you where these cabs sit in relation to each other.

[quote name='SpondonBassed' timestamp='1505284349' post='3370663'] I sympathise with those who get left out of the hitmakers' dividends when music becomes popular beyond expectations. It's only natural to feel slighted if you've been part of the creative process. [/quote] Happens a lot. In the US (and maybe else where) scientists etc used to get $1 when they join a company. That buys them out of ownership of anything they invent while they are working for that company. I read that Marconi didn't invent half the stuff he claimed. The guys working for him invented a lot but Marconi took the credit as it was his company. Session musicians in the US now do get a share of the royalties of the records they played on. The knife in the back for those guys was that they could only get paid if they applied and registered the songs they played on by a date and the weren't given much time to do that. So the disorganised ones didn't get what they deserved and the organised ones claimed and now get royalty payments. Maybe this is where the Carol Kaye vs Motown controversy comes from. Apparently record companies paid less to the musicians for recording demo tracks. I've seen that Motown were accused of using LA musicians to record demo tracks and then using the tapes as masters, so getting those sessions on the cheap. A lot of murky and probably unfair stuff went on back then. The session guys at Fame studios used to arrange the songs and come up with their parts, for which they didn't get paid. I'd guess Stax was the same. Artists and musicians were, and still are, at the end of a long line of people being ripped off in the music and entertainment business.

One of the best bass players so far only used 1 finger. . . James Jamerson. All world class bass players probably do something "wrong". Don't worry that you're right or wrong, does your style work for you? Can you easily play everything that you want to play? Unless you're having problems of some kind I'd stick with what you do.

Ah, on rereading the OP, I see you just want to run the pre amp into a more powerful power amp. I'd get the TH500. They come up in the classifieds and would do the job in a better way than messing around cabling up 2 boxes. Also, for a big jump in power, have a look at the AG700.

I have done this with 2 TH500's. You plug a lead from the send on one amp into the return on the other. You plug your bass into the "send" amp (which is pre amp and power amp) and the "return" amp is just the power amp (the master volume works, the rest of the pre amp doesn't). But I see your TH350 doesn't have send/return. I'd try running a lead from the XLR or tuner. I doubt you'll damage anything but if you are really nervous about this I'd drop Aguilar an email wit the question. You could get around the limited features of the TH350 by running a second amp (rather than a power amp) and using an A/B box or split cable to plug the bass into both amps.

GR amps don't seem to have a presence in any of their dealerships yet. I gave up trying to find them in shops in Europe. I've heard many players using the "best" gear and still sounding terrible. The good players will sound good through most amps. The market is saturated with great sounding amps. IMO finding yet another piece of gear, even good quality, isn't a particularly exciting event anymore.

They used to read those sessions. Apparently you got 2 takes. If you needed anymore than that your chances of getting the call for the next session rapidly diminished.

A J and a P have unique and different strengths. IMO they sound better not trying to sound like each other.

[quote name='JapanAxe' timestamp='1504953578' post='3368509'] Me neither, but it's the usual GAS thing - maybe this other bit of kit would be [i]even better[/i]. [/quote] I call that upgrading. Buying some gear that you [i]know[/i] is better in some way to what you are currently using. GAS just seems to be buying something new for the sake of it!