chris_b

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!

Of course there will be ex-Barefaced players. People get divorced from Super Models as well, right?! We all have a (different) sound that we prefer so no one piece of gear can work for everyone. I don't do the "change for the sake of change" thing but, even so, it is a way of gaining experience and knowledge about bass gear.

Hey. . . . why can't we be bothered to have a discussion about musicians who changed the sound and style of music forever? Instead of just slagging them off?

Duck Dunn, Carol Kaye and Jamerson improvised and/or read their lines. It all depended on the producer. Some producers insisted that their parts were played exactly as written and some just came with the chords scribbled on a fag packet. There was every other kind of session in between. Nathan East, Sean Hurley and Alex Al etc say that many producers expect the bass player to "leave something to the table", ie come up with an interesting twist on the bass lines.

I'd also be looking at strengthening your back. I do Pilates, which is starting to show results. But even if you're another Geoff Capes I still don't see the point in carrying a boat anchor around when you don't have to. This is a 2 pronged issue and you should be getting stronger and finding the best light weight bass you can.

I'd run 2 4 ohm amps, one into each 4 ohm cab and daisy chain the amps. I did this when I owned 2 TH500's (main amp and backup). A 2 amp/2 cab rig running in this way will be significantly louder than 1 amp running at 2 ohms.

The 55-01 will be somewhere in the high 9 lbs, or could even be more than10 lbs. They are heavy basses. You can get 5ers in the 8 - 9 lbs range if you look hard enough. My Mike Lull P bass is 8 1/2 lbs and is a great sounding and playing bass. Brother Jones is selling a Mike Lull M5V Jazz which comes in a less than 9 lbs. This is a great sounding bass. http://basschat.co.uk/topic/311020-mike-lull-m5v-bursttortrw/page__fromsearch__1

I used to record all my gigs on a mini disk. You know when something you're playing is working and when it isn't. . . but hearing the whole thing back is a great tool for judging and fine tuning your performance in the "cold light of day". I made lots of adjustments to my playing based on those mini disks. In my case it all built up into playing better and having more confidence in my playing choices.

I have played with pro's and ex pro's in most of my bands. Pro's can be some of the biggest idiots out there. Attitudes, neurosis and hang-ups all over the place, but find the good ones and you get a higher level of ability, attitude and focus and they will be a joy to play with. The bad ones will filter out and won't get the calls. At least with the pro's you don't expect to have to explain or teach. As a species they just turn up and 100% deliver.

Interparcel. I've just sent a 147cm x 50cm x 22cm x 15kg box. No problem. Hard case inside a padded bike box trimmed to shape. Not sure anyone can do any damage to that.

IMO that 110 (even 2 110's) is too small and is not going to work on your gigs. For loud gig, even the 110 paired with an 8 ohm 115 is as much use as a chocolate tea pot. The 115 is 4 ohm so you can't add another cab. All this you know. When do you need to have this sorted? When is the next gig? IMO you've got to chalk this up to experience and start again. For a light 1 cab solution you've got to start by checking out Barefaced. There are other good cabs out there but BF is where I'd start, because 1 cab would do the job for you and that cab will easily handle the power of your amp. Whatever you do, you might need a bank loan to tide you over this unfortunate buying and selling phase.

Just tune the bass after you've added the foam.

[quote name='Ghost_Bass' timestamp='1504710670' post='3366821']. . . . having the port aimed to the front gives something more to the sound. . . . [/quote] With the port in front you get to feel the air coming out of the port. I haven't heard the sound change between front and rear ports but the feel is different if you are standing close enough.