chris_b

[quote name='Pinball' timestamp='1504427260' post='3364706'] Our drummer was no longer in our band when we made our first video. As he played on the recording he returned for the vid... The best solution I reckon. [/quote] Really? If I was the current drummer I'd be very pissed off!

I prefer we keep to the same arrangement but every now and then an extra chorus or verse can creep in out of nowhere. Doesn't really matter. Your ears should be open and your brain in gear anyway so it shouldn't catch anyone out for more than 2 beats. As old age marches on, I do notice that I play more effectively these days. Well I think so. I play half the notes I used to play when I was a kid. My gear sounds much better than the stuff I used to play back then and so each note just sounds better.

I gig anywhere in the country, but mostly in the South East. A journey home on public transport from most of my gigs wouldn't start until after midnight and would take hours. That's not doable. Call me old fashioned, but a car is a prerequisite.

I'm afraid I'm filing this in the Yet Another Pointless List section. I think I'd be more interested if Scott came up with a list of 100 Songs To Play Before You Die.

No difference. I believe at the range of the port the bass frequencies are omni directional, so the ports can actually be pointing in any direction. The only difference for me was on tight stages where there was no room behind the cab for the port to "breath".

All I want is an amp that is easy to use, fool proof and sounds so good I'll never want to buy another amp. . . . evarrr

All my basses have a case. They are stored in the cases at home but I take them to the gig in a gig bag.

[quote name='Stylon Pilson' timestamp='1504265316' post='3363761'] If we continue to assume that the impedance is the same, the speakers in the 2x10 are being pushed twice as hard as the ones in the 4x10. [/quote] . . . . or, if the amp is driving the 210 satisfactorily, the 410 is working half as hard. Or another way. . . . if the amp is putting out enough power to be within the working range of the 210 there is no danger to either cab.

It's already been refinished so you can't devalue it any more. . . . but what's the point? IMO I don't see this as a good use of your cash. I'd leave it.

[quote name='JoshBassDude' timestamp='1504257131' post='3363667'] I've seen a few photos of bassists using this stacking order. What difference does it make? [/quote] No difference. . . . a lot of difference. . . . depends the cabs, the amp and the impedance.

What do you think valves would do beyond what you've already heard?

Looking at your videos you guys don't seem to be thrashing or playing at stupid volumes. From what I've heard of your band I'd say you could easily be able to replace all your current cabs with a Barefaced cab. You'll be lighter, louder, clearer and generally have a great tone. IMO IME you'd sound better than with anything on that list of 410's.

If behind the band name there was a limited company then they could start a new company trading from that date. The accountants would then divvy up the band's money and expenses based on the separate companies, who would have different personnel. This would cost far more to operate than most semi pro bands make. Keep it simple. At a local level you're in with a share of the band expenses and earnings. When you leave both of those end. If the band was a good one then you can turn your presence on the website, photos and recordings to your advantage when looking for the next band.

So, moving on. . . . for the average player learning to play by ear and recognising shapes, patterns and intervals is a far more useful ability to develop. I got some scathing comments when I suggested that TAB (and even notation) in the Duck Dunn book was unnecessary, but Stax is the ultimate "ear" music. Listen to it and play it. Duck Dunn's chops are still the foundation of modern bass playing, in most genres.

It's all music. A good song is a good song no matter who wrote it.

I've been depping with a band on and off since the late 90's. They, and occasionally me, have been touring their original album for the last two years. I still run through the songs on the album before every gig to get up to speed. I know these songs backwards, but [i]nothing[/i] is going to screw up on my watch. I've just had to dep out the dep for a couple of weeks. The guy they are using to replace me is very good. That's a worry!!!

3 pages of people blaming the process of depping out gigs for the bad gigs, when they should be blaming themselves for choosing inadequate deps.

I don't see snobbery here. It's basically a discussion about effective forms of communication. I could read music, slowly, when I left school. It got me paid work in the beginning so that was good but I haven't done a reading gig since the early 70's. So sadly that's all gone now. Looking at the TAB above, looks like someone is trying to address the shortcomings by adding all the missing musical information and in the process making it look so much like the dots. If you have to learn that much you might as well learn the final 10% and actually read the dots. If I get stuck on something I'll look at TAB sites for a clue, but I am so often disappointed that TAB fans do such a poor job of transcribing their music in this way. Thinking original bass lines are better than covers bass lines. . . . now that really is snobbery in action. I play covers and originals. All covers start out as original songs so there is no difference between one or the other.

[quote name='TimR' timestamp='1503691377' post='3360402'] Oh god. Another thread of getting the cover exactly like the original. Just play the bloody tunes guys![/quote] No not really, and yes, that's what we do but this is a discussion about some simple differences in playing that can enhance or detract from particular songs. I see you have experience of 2 numbers yourself.

Just some thoughts. . . . The one question that always comes up is, "How do I get XYZ's sound?" A list of every piece of gear that XYZ has been pictured using then appears. Most of it being irrelevant to the question. As I understand it pass filtering is a significant part of recording every instrument and filtering at the mastering stage is used to correct mistakes and shape the whole track. This filtering is a critical contribution to every record we've ever heard and to every bass players sound, but hardly gets a mention. If pass filtering is such an important feature in the studio maybe it's time it became an important tool on stage. DSP is coming. . . doesn't that utilize pass filtering. I hate loose, muddy and uncontrolled bass frequencies. Which is why the Bergs and now BF cabs work so well for me. An HPF can be a means of squeezing a quart into a pint pot but I think it could also be a useful tool and a positive way to influence and improve the balance and presence of the bass on stage. Yes? No?

What Brown Sugar gets from Keef, and no one else, is the riff played in an open tuning. Everyone else is playing in standard tuning which doesn't make it wrong, but it still isn't [i]right[/i]. Like All Right Now. Most guitarists are close but don't play the correct riff. Then try playing a Who song in a different key (no capo), with a different chord inversion. Same song and OK. . . . just not [i]right[/i].

TAB isn't evil, but it just tells you where a note is (or not, depending on the person writing it!). There is so much information lacking in TAB that it's use stops beyond being a practice tool. The Nashville Numbers system is also limited to a specific and simplified way of writing a chord chart for guys who know the feel of the song but not the chords. Some modern country is moving beyond the capabilities of the NN system. You can (and they do) play any music of every complexity, from solo to multiple orchestras, straight off from the dots. That is why TAB can never be a substitute for the dots. It might work for untrained people in limited circumstances but TAB is not an alternative to any other system of notation. TAB isn't evil but unless we understand it's place in the scheme of things we shouldn't be making unrealistic claims for it.

[quote name='oldbass' timestamp='1503654128' post='3359936'] Anyone else have a similiar experience with other tunes etc. [/quote] It's the way you play 'em. There are no bad tunes, just bad versions.

[quote name='Dad3353' timestamp='1503325924' post='3357255'] . . . . but don't pretend that classical music notation is the complete solution for everything. [/quote] It is. Everything else comes in the form of notes from the writer or arranger.

So far I've never owned a pedal or played in a band or style of music that required one. My tone is me~bass~amp~cab.