chris_b

[quote name='ForestPoetry' timestamp='1496585095' post='3312455']I love Jazz Basses, [/quote] There are some wonderful Jazz basses out there: Sadowsky, Lull, Lakland etc, but if you want a Fender (and there are some very good ones around) I'd look for an American Standard jazz, from 2009 to the present day. Find one that feels good to play and then if you need to, upgrade the pickups and electrics.

Of all the strings I've used over the years, the sets that sounded the best for the longest time were DR's, either Lo-Riders or Hi-Beams.

With caveats and IMO. . . . Playing in almost any band is night and day better than playing at home. Playing regularly should make you a better player and keep you match fit. Playing regularly should be good for your networking and reputation with local musicians. As long as you're playing songs well, playing in almost any band is a rewarding experience. As long as you're playing regularly you should be making enough to at least cover your expenses and hopefully more.

A 210 could well be pokier and punchier than a 112 with more emphasis on the mids. I use a One10 at home, which sounds better to me in a front room context than 1 of the 2 Super Compacts I use on a gig. On the other hand there's no rule that says you can't prefer cab a to cab b or cab c.

[quote name='Jumanji' timestamp='1496586503' post='3312471'] So I used my TC 210 last night in a fairly large (200 capacity I think) dinning room, hotel dance hall. It's running at 400W from the 450 head and it didn't quite manage it. At anything past about 12 o'clock on the volume knob it sounds wooly and undefined... unsatisfying to me anyway. [/quote] I know my TH500, gain at noon and master on about 10 o'clock, and 1 Super Compact would have that gig covered.

I don't think you can damage the D800 by running the wrong cabs. The built in protection seems to be pretty extensive. If a serious error occurs (as long as it's not to do with the internal components in the amp) it just goes into protection mode, which lets you turn it off and back on. As far as I recall, if you run the 2 ohm switch on with 4 ohms worth of cabs you'll get a potential 600 watts instead of the full 800. This was covered by a senior Mesa D800 designer on Talkbass, but I don't fancy trawling through the 1000's of posts on the D800. Drop am email to Mesa and they'll give you the definitive answer.

[quote name='Grangur' timestamp='1496565003' post='3312270'] Thrash metal or country dancing? What you're playing [i][b]MUST[/b][/i] make a difference? [/quote] +1000 A good bass sound isn't enough, we need a great bass sound. Do whatever you need to do to sound better than the next guy.

Some nice 5 string bass action. . . as there is on All Saints' Never Ever.

[quote name='paulbass' timestamp='1496496063' post='3311910'] This was just on the radio and I haven't heard it for a while...ok its not exactly pop but its still a cool bassline [/quote] Some info for you - the bass on Black Velvet is a [b]sample[/b] of a fretless bass. It was played by the producer Dave Tyson. Probably on an Akai S900 Sampler.

Just off to the Gallery to pickup mine.

A "standard" 112 might be enough, but it depends on how loud you're playing, what tone you want, what rooms you're playing in and how often do you get FOH. A better 112 will be clearer, more defined and sound better whilst being able to go louder maintaining a better tone and are more likely to carry the room on it's own. 2 "standard" 112's will sound much better than 1 and 2 "good" 112's will cover any playing situation and sound fantastic in the process. The only cons I know is that 2 112's will cost more than a 212. I'd keep an eye on the classifieds until something you want comes up. The same comments apply to 210 cabs, except 1 210 would go a little louder than a 112. IMO a good 112 would sound better than an OK 210. 2 210's would still sound better than 1 cab. If you want to look at 115's, that's another area, but again the good ones will sound better and go louder. A good 112, 210 or any 115 would probably be a 1 cab solution for most people. Buy 8 ohm cabs and you can add another if you decide you need the extra oompf. A good cab will make a good amp sound fantastic. IMO it's worth the extra to buy "good" gear. Go and see some bands playing locally. Talk to the bass player and ask him about his gear.

[quote name='Jumanji' timestamp='1496443639' post='3311566'] What cabs and amp are you using?[/quote] These days I favour my Aguilar TH500 and 2 Barefaced Super Compacts. Before that I used the TH500 with a Berg CN212. I prefer the separates because they are lighter (I have a bad back) and I can use 1 if that's all I need.

I know a drummer who uses the BC2 and drum seat. As the others have said, I'd prefer to shift more air by adding another cab.

I used Bergs for nearly 10 years and would recommend them in an instant. On the other hand. . . . have you thought about adding another cab to your combo? Bass Direct has a used TC RS112. I know a guy with that rig (TC 210 and 112) and he is pretty loud.

[quote name='Jumanji' timestamp='1496441559' post='3311550'] The problem I have is that if I have 2 x 112 cabs, most of the venues would suit just one of them and so the other would sit disused. [/quote] I find I mostly use both 112's because they sound so much better together. On the 5% of gigs where I only need 1 112 then that works too.

I'd suggest a Barefaced Super Compact and use your Fender amp. There's a guy on Talkbass who rates this combination very highly.

I use a Harvest strap. Your requirements are quite specific but they should have something to fit. . . . http://www.harvest-guitar.com/en/Straps-for-Guitar-and-Bass-oxid/

[quote name='Jumanji' timestamp='1496438434' post='3311526'] I don't really neeeeeed a bigger setup 100% of the time, but it's for the times when I wished I'd gone bigger! [/quote] Go modular. A combo with an extension cab or, IMO better still, an amp with 2 112 cabs. I have an 800 watt amp and a 500 watt amp and 2 112 cabs. That gives me a choice of 4 different rigs.

[quote name='bassjim' timestamp='1496405197' post='3311132'] . . . . I probably wouldn't be there in the first place, unless getting paid to do so. [/quote] We should always be getting paid to gig.

+1 Most "pop" music over the years has had very high production values. I can think of many who are top quality like Motown, Queen, ABBA, Beach Boys etc. The only guy who didn't seem to bother was Bob Dylan but he had other levels of greatness going for him. I can't think of any others who didn't produce a quality product. A lot of care was taken over disposable 2 min pop songs. It might be "pop" but it was rarely "crap".

[quote name='SpondonBassed' timestamp='1496382818' post='3310901'] That's interesting. A bit like stalking. [/quote] And it can also be called networking. Bands have a very short memory so you have to keep your name at the top of the list.

There's no "dead zone" but on some basses there might be a "dead spot" (usually only 1) where a note can be slightly quieter than the others. These can be a product of the materials and design used in the manufacture and can be found in many basses. Usually they are not a serious problem. Every song recorded in the last 70 years was recorded on a bass that could have had this issue. Modern basses can have graphite rods and stringers installed in the neck to reduce the chance of dead spots and the problem can be reduced by using quarter sawn necks. Fat Finger clamps will also help. Dead spots don't appear or develop. They are there from day 1 so, when trying a bass, play every note on the neck and listen to its volume in relation to the other notes and how it sustains. If there is a dead spot you'll hear it. Then you can decide if it matters to you or not.

IMO if a glossy neck is causing you problems then change your left hand technique. If you're dragging your hand/thumb along the neck then you can get problems. Fully release your grip in-between hand movements and you'll be fine.

[quote name='NancyJohnson' timestamp='1496398024' post='3311040'] [font=arial,helvetica,sans-serif]I don't buy into the Dave Grohl comment above that he was 'a f***ing badass' just because he could get a crowd going by playing consecutive hits on the floor tom and kick. It was The Beatles! For the love of god, Ringo could have just farted in a paper bag and the crowd would have gone crazy. [/font] [/quote] Ringo could have farted into a paper bag, but if he did the records wouldn't have been as good, the whole world of drumming wouldn't have changed and no one would be saying what they are saying now. Don't you see that? Grohl's point was, it's what Ringo played, how he played it and how he fitted it into the song and not some "super" technique that makes him so good. I get it's not for you. . . . but it's time to stop digging!

Bad news. At least you came out of this knowing more than when you started.