chris_b

[quote name='mcnach' timestamp='1497875409' post='3320998'] One thing about the D800+ is... you'd expect that if they give you a carry case for it, they would give you a decent one especially for the price. The case is very thin and the handles don't inspire much trust, even if the amp it light. [/quote] I use one of these for all my D Class amps. . . . http://www.maplin.co.uk/p/flight-case-with-foam-n70ap .. . . make the hole the size of the amp and there's all the protection you need.

In the US you know you are going to sell hundreds of units so you can price accordingly. Unfortunately, over here, you're going to sell a couple of dozen units. Economies of scale don't work as well at those levels.

[quote name='ivansc' timestamp='1497853678' post='3320806']Any suggestions. . . . ?[/quote] Turn up and play lighter, take the action up and carry on or, as long as it works, don't worry about it.

She's learnt to [i]interpret[/i] music from the dots. In a musical sense these guys are extreme athletes. They are very talented but they can only expresses what is written. If you tell someone who has had this training to "make it up" they can't - because they have never been trained to do that. I used to know Stephane Grappelli's drummer and he (and the band) used to dread the gigs when Yehudi Menuhin used to get up and play, because he couldn't play with them. They had to play with him and it wasn't Jazz. He was in perfect time, which ruined everything straight off, then his "solos" were all worked out and, while being musically perfect, sounded terrible with no feeling and no swing.

[quote name='chris_b' timestamp='1497862066' post='3320859'] . . . . but maybe a pedal(s) would be more flexible and a bonus would be the extra sounds that will become available.[/quote] Carrying a pedal would make you independent of the amp for your sounds. You could then change amps without affecting how you sound. Edit. . . . I see we're all thinking along the same lines here.

In a multi band environment, it's entirely reasonable for the sound guy to want to simplify things. The speed of change over will always be what he's judged on by his boss and probably the audience. He'll be used to working with some dubious characters who don't have a clue and just want to make noise. So of course he'll want to minimise any stupidness. It's also right that you fight for, and achieve, your sound. IMO either of your options (pedal or post EQ) would work and I don't believe that either would cause the sound guy any issues. Can you try these options at rehearsals and see which one you prefer? The post EQ DI (the post DI button) requires no extra equipment so would be my preferred option but maybe a pedal(s) would be more flexible and a bonus would be the extra sounds that will become available. Edit for spelling

Deps will probably use charts and regular players may or may not. It isn't about good or bad, better or worse. The difference is rehearsals and band policy.

Better basses? Mike Lull, Sadowsky, Lakland, Shuker, ACG, Overwater. But really it sounds like you're bored. . . . do you gig? You've got a bass you've loved for 30 years and a Wal. . . . apart from a Precision you don't [i]need[/i] another bass. Looking at your sig, though, I could suggest upgrading your amps and cabs.

[quote name='scalpy' timestamp='1497783256' post='3320511'] . . . . But throughout he's got the band by the balls. . . . [/quote] Jamerson was so good he had the whole Motown organisation by the balls.

Not a dilemma for me. The sound of my Lull PJ5 improved 200% when I changed from rounds to flats. Now using TI flats. The sound became fuller and fatter with more heft (oh yes). There's no going back for me on this bass. I play all sorts of covers and genres and the sound of this Precision has worked for every style I've been asked to play in the last 5 years.

You're right. . . Martin Cohen.

[quote name='SICbass' timestamp='1497629416' post='3319667'] A few years back I played on a soul review backing her. You get the charts at the one rehearsal with her. [/quote] I believe a guy called Martin Cohen used to/still does/usually played the Motown gigs in the UK. Not sure how many he does these days. Great player and could read anything straight off. About 20 years ago he tried to muscle in on one of my bands. Luckily he was so good, the singer was too scared/nervous/intimidated to work with him and I kept the gig! Fortunately, for me, I don't scare anyone with my talent!! Edit. Corrected name

[quote name='DanH71' timestamp='1497610495' post='3319448'] so if i use connectors, do you know any that are appropriate? [/quote] There are lots at B&Q and Screwfix, or any electrical shop you can find. The smallest ones would probably fit in the space better.

For a number of years JE lived over the road to me in Corringway, North Ealing, London. His American car was so long that when it was parked in his drive it hung over the pavement by a good 4 feet. He also pushed the kids up and down the road in a big pram still in his cowboy boots and long tasselled leather jacket. A very incongruous sight. Before that I believe he was in Gunnersbury Avenue.

Where are you based?

If you want an overdriven sound, why not get this from a pedal?

My preferred setting is. . . . as low as it goes without buzzing. Whatever that is. It'll probably be different on each instrument. I have 4 basses. 2 were Pleked when made and they are still very good. I've had the frets levelled on the other 2 and the action is even and now lower than they could have gone before. All 4 play beautifully. If the action is too low for your plucking technique then you'll compromise your tone. Very low needs a very light right hand technique. If you hit harder the strings will have to come up.

[quote name='fretmeister' timestamp='1497599917' post='3319308'] An orchestral performance is 90% listening. Movement would detract from the performance. [/quote] Plus they'd all keep falling over each other.

If you have to compete with guitarists using half stacks then almost any 500w - 800w amp will do but the cabs will be the more important part of your rig. A good 410 will usually cover everything, but they are big by today's standards. One of the better 212's will be as loud, lighter and work just as well. My "super" 112 cabs let me go very loud with a 500 watt amp. You don't want either the amp or cabs to be running out of power so IMO "just enough" won't be good enough.

[quote name='acidbass' timestamp='1497531434' post='3318910'] Lightweight gear = lightweight tone![/quote] No smiley's, so I guess this was a serious comment? In reality it's not in the slightest bit accurate.

EMG has some active pickups but other than those all others are passive, so will slot right in to your current wiring. Before you change anything you should, a) know what problem you're trying to solve, b ) have a good idea that what you are doing will solve that problem, and c) make the changes in such a way as to let you easily back them out if you discover you didn't fix the problem or caused a new one. Don't bother with solder, as previously posted, use connectors, then all you'll need is a screwdriver. Draw a diagram of which wire goes where on your current pickup so you can match them up on the new pickup. Leave plenty of wire to work with.

I believe the BB2 and SM are good together, but the message I get from Alex's website is that mixing the 10's and 12's is a match he wouldn't recommend. Email Alex and get the definitive opinion.

If the Barefaced Super Midget is still too big get a BF One10.

[quote name='richardjmorgan' timestamp='1497529887' post='3318892'] Recommend me an amp / loud stoner rock / as small and portable as possible. [/quote] I'd second the Aguilar TH500. Aren't you going to ask about cabs?

IME most brass players will have studied formally so they would have been brought up reading charts as the standard approach. Brass sections can be pretty fluid things with a lot of depping so in those cases charts are essential for ensemble playing. IME if they are required to learn their parts good players will, not so good players. . . well, you get what you get. None of the pro Soul bands I've been in used charts because they always rehearsed and learnt the set. We had a no chart rule in all of them. I've played with every thing from a 2 to 5 piece brass sections, what a wonderful sound.