chris_b

[quote name='Muppet' timestamp='1508577675' post='3393012'] Why don't my beloved Sunbeams work on the Sterling? I feel let down...... [/quote] Depends how good your ear is and if you can tell the difference. I've just bought a serious upgrade to my amp of many years and I'm loving it with my 10's but not my 12 's cabs. Why? It's definitely a better amp but, for me, the sound doesn't work as well as the other amp. I've had the same happen with strings. Some parts of your signal chain have a synergy and others don't. Just one of those things that unfortunately costs you more money than you'd like to spend in order to find out. You have the solution (EB Slinkys) and now you know.

[quote name='clunkie66' timestamp='1500907299' post='3340981'] . . . . should I forget about it, crack on and play the way I feel most comfortable? [/quote] You can use a pick but you don't have to. Pick or fingers? As long as your tone is good and you can play the songs well then neither is better or worse.

For perfect understated bass lines listen to any Keb Mo, Bonnie Raitt, Delbert McClinton or Johhny Lang record.

Can't answer your question, but one of the new features seems to be an HPF which might reduce the "farty noises". //www.gollihurmusic.com/product/1825-EUPHONIC_AUDIO_DOUBLER_MARK_II_BASS_AMPLIFIER.html

I believe the XLR socket on a Wal bass needs to have a jack in the other socket to work. Maybe OW basses are the same?

I play the bass which gives me the sound I prefer. Currently I think that my Jazz sounds better than my Precision, so that's what I'm playing on all my gigs. I was happy with the situation, but I recently did a gig with a drummer who is also a bass player and he said the J and P sounded more similar than different to him! That was a puzzle, because I don't hear them as sounding the same, at all. . . . and then someone recorded a couple of songs on a gig and the J and P do sound very similar to each other! How do I manage to do that?

Sounds like a very good plan to me. These cabs are amazing. I have 1 and am 99% sure I need another.

I put one of the old 15" Barefaced Compacts together with a Bergantino AE210 and at front room volume they sounded very, very good together. I imagine Hi Fidelity sound isn't what you're after in a Punk band. Is the Terror 500 watts? If so split between 2 cabs you're unlikely to reach the limit of either cab. I'd ask your mate to lend you the cab for an afternoon so you can try it out. Give it a go a tell us what you find.

Looks live to me. If the bass playing is pre recorded or live and your technique isn't good enough you'll hear ringing notes either way. I struggled to get to 1.17 mins but to me he's muting all over the place with either hand in the different sections. He's also playing pretty cleanly so he's not hitting the stings he's not playing. His playing and muting sounds pretty effective.

This style of playing is not for me. I don't know if this guy is Joe Louis Walkers regular player but the guy(s) JLW uses are always very good players. . . . when they're not slapping like this. JLW and the audience seem to think it's OK though, so what do I know!

Good news Bill.

I endorse Aguilar. . . . unfortunately and sadly, they don't endorse me!

There you go. Good call. We learn something new every day.

I like what I've heard from Markbass amps but for your budget I'd be looking at used Aguilar amps. I've played the TH500 for several years (it saw off the GB STL 9.2 and Mesa D800 I bought) and haven't found anything to replace it. That is until now, but we're talking about the new AG700 which is well over budget. I didn't need to upgrade and the TH500 could easily have been the last amp I bought in terms of tone and volume. I've kept one as my second amp.

Several years ago we flew to a gig. I was lent a 5 string bass, Yamaha or something, and the strings were so close together I couldn't play it. We did 3 gigs in 2 days and I was only just getting the hang of the very narrow string spacings by the end of the second set on the 3rd gig. That was the last time I've played a bass with non Fender string spacings. I was on another gig, with an all original band, and every song included some or all notes on a B string. They got a 4 string Jazz for me on that gig! Replanning 5 string bass lines on the fly was easy compared to that bloody Yamaha!

Your amp's good but ditch the cab. You can do much better than that. IMO the best solution would be to get a Barefaced Four10 or a Six10. You'll be able to run up the stairs carrying one, you'll crush those guitarists (if you so wish) and you'll sound much better whilst doing it. I don't get the, "Don't play at high volume levels" advice. The OP joined them so he'll be playing at their level. However silly I or we think that is. Just get some [i]good[/i] ear plugs.

[quote name='goblin' timestamp='1508255473' post='3390911']Very happy with this! [/quote] I've done one gig with my AG700 and got lots of positive feed back on the sound. Another great amp from Aguilar.

So this is a long shot, is it? Anyone selling a cloth fronted One10? Even 2 of them?

I haven't heard that one but this is a close as I cab get: [i]In 1946, Everette Hull, an acomplished pianist and bass player, organized a partnership with Stanley Michaels under the name "Michaels-Hull Electronic Labs." Their mission was to produce a new microphone pickup that Hull designed. The pickup was fitted on the end of an upright bass and was dubbed the Amplified Peg or "Ampeg" for short. [/i] [i]In 1949, Hull became the sole proprietor and changed the name of the company to the Ampeg Bassamp Company. [/i] From the Ampeg website.

I've always been a P bass person and I own one of the best passive Precisions I've heard but after being [i]the[/i] bass for 5 years it doesn't often get of the subs bench these days. My go-to bass right now is an active Jazz. I'm just preferring the extra dynamics of this bass over everything else.

[quote name='bootleg' timestamp='1508080084' post='3389605'] Anyways, drummer has brought in What About Me? by Snarky Puppy, all parts written up. So I'm struggling for some reason. Not particularly in love with the song, but I just struggle to break it down as I usually do. It's having an effect on my practise schedule (I am not doing much cause of that bloody song hanging over me) and on rehearsals as my confidence is taking a shot, to the extent I skipped last weeks rehearsal cause I didn't fancy it. Now I'm thinking perhaps they should get another bass player. It's that song or me! It feels a bit like constructive dismissal; despite making clear my thought on the matter they want to crack on with it. [/quote] Is this a rehearsal band? I can't see this going down well at any of the gig I've done in the last 30 years. anyway. . . . Snarky Puppy is a sh*t hot band and I can play most stuff but I know I'd struggle with this or anything else they write. If you want to give it a go, break the number into 4 bar sections, then start putting it all together into larger, logical pieces. What's the point of leaving a band because of a song? I don't understand this "run into a difficulty and walk" mentality. Stick at it, give it your best shot and maybe you'll succeed. How good will that feel? If you really can't get it into your head, tell them. Everyone has limits of their ability, but that limit is usually a lot further away than most people realise. The rest of the band should appreciate your efforts and honesty. I've been in bands where one member has put their hands up and told us they just haven't the talent for a song. . . . and that doesn't make them a bad player. If the other guys have any sense they'll understand and ditch this song.

[quote name='XoSo' timestamp='1507925656' post='3388913']Ok, I've returned to bass after many years. [/quote] The bass world has changed in the last 10 years beyond belief (and it has stayed the same, if that's what you want). I play, sound and look(!) vintage but I'm firmly at the modern gear end of the spectrum, so IMO all you need to know is D class amps and Neodymium cabs. When I play at home I use a Barefaced One10 cab and an Aguilar Tone Hammer amp. I'd choose an amp and cab because you can easily play with others and that's where the fun starts.

The treat it like a "holiday" approach is a valid one and OK if you're a hobbyist, but If I'm playing somewhere and somebody else is making money out of it, then so am I.

Everyone changes from how they started out, from Elvis to the Beatles, Stones to Bowie and even my cover band. Good bands and musicians make the changes work. No matter who you are you've got to be playing what the audience wants. Never try to play your favourite songs, you'll always be disappointed. Sometimes you have to, but leaving "due to musical differences" is always the worst reason for quitting a band.

Competency issues (bad timing, tuning or ability) should be sorted out one way or another after the first number where they become apparent. Personality issues can take longer to resolve, especially if the guy is a good player, writes the songs, owns the van or gets the gigs. I've known guys be fired for no reason to big reasons. Usually great players stay no matter what they do. Make sure you're worth it to the band to keep on.