chris_b

One that requires the features and spec of the TH500.

The differences. . . . the TH350 has no send or return circuitry, 1 speaker out, no voltage changer on the back and what ever it is missing to make 350 watts up to 500. The TH500 is aimed at a higher level of gigging than the TH350 so price and spec differences reflect this.

[quote name='dmccombe7' timestamp='1489524177' post='3257689'] The battery comparison on morning TV showed that Lidl batteries outlasted even the duracells. [/quote] I saw a TV program and they put 4 different makes of battery into model cars and ran them until they stopped. In this test the Duracell batteries did not last as long as Lidl's own! I have always used Duracell but that just seems to demonstrate the power of advertising. Lidl batteries? Seems I need to try some of those.

The current Super Compact is gen3.

Yes you are. Check the specs again.

[quote name='Ajoten' timestamp='1478961267' post='3172988'] Blimey £££. And here's me hoping there some £100 pracky amp that might do. [/quote] It might but you won't sound as good. . . then it might not. Practise amps are not always designed to gig with. There are plenty of small cabs/amps/combos but the good sounding ones are few and far between, and will cost more.

[quote name='krispn' timestamp='1489480157' post='3257206'] I'm still annoyed at him ripping off Brother Marvin on that terrible song a few years ago [/quote] Hardly a rip off. Thinking Out Loud bears no resemblance to Let's Get It On in the copyrightable bits, the lyrics and melody. These songs are simply not the same. So if you think you can sue over a chord sequence or rhythm then every song written in the last 60 years is a rip off. This is a smash and grab. An opportunistic attempt to con some cash out of ES, hoping he doesn't want any "bad" publicity.

The frets at the top of the fretboard on a Sadowsky get gradually lower so the action can be taken down even further.

Most luthiers will probably not be supplying paperwork because their wood stocks have been built up over time (20 and 30 years in some cases) and none of those will have any provenance. Sadowsky have already stated they will not internationally ship new basses containing any woods listed in CITES. They are looking for alternatives but the old stuff will only be sold within the USA. The EU is slightly different because, as far as I understand, the border checks don't apply as all the countries in the EU are treated as one country for customs purposes.

[quote name='grandad' timestamp='1489391356' post='3256459'] Chuck's famous guitar riffs he transposed from jazz/blues piano. [/quote] He also borrows quite a lot from T Bone Walker.

[quote name='geoff90guitar' timestamp='1489330576' post='3256066'] However I did try my Trace SMX250 in a BF Gen 3 cab and was knocked out, but, it was indoors and not at a gig. I'd love to purchase a pair of these, but again if Im disappointed I'd be losing a lot so it would be risky. [/quote] If you are always disappointed then you've been going at this with the wrong frame of mind. Nothing will sound like TE so stop looking and keep using your TE. What ever reason you've got for changing from TE accept you're going to sound different and get the best sounding different cab you can find. . . . then learn to love it. You [i]will[/i] be sounding good to the rest of the world because the cabs you've mentioned are the best starting point to a great sound, IMO especially the BF cabs.

Do Chuck justice. . . . don't make it rock. . . . make it swing.

My passive Mike Lull PJ5 is under 9 lbs, well balanced, has an effortless neck with great sounding custom SD pickups. This is one of the best basses I've played. With my new TI flats it's getting good comments from bands and audiences.

I played the Sundowner in Edmonton in the early 70's but missed out on the Rainbow.

[quote]. . . . Ever played a bass that made you think you played better?. . . . [/quote] All the time. IMO sounding and playing better is the only reason for buying the next one. Is it a psychological thing? Not if you do it properly and assess the new gear with your head and not your heart. If you do it like that then you probably are playing better.

I saw the Beatles there in the 60's. Saw. . . didn't hear a note due to the screaming!!

Just learn it.

Is this an "anyone can walk in off the street" open night or are particular people expected to turn up? Don't worry about your strings, if you can, find out who you'll be backing and get a set list off them so you can get a heads up on the numbers you'll be expected to play. If anyone can just turn up and play. . . well, good luck. I've seen these nights and you can get a lot of acoustic bedroom players turn up with their "original" songs. It's usually best to let them play unaccompanied.

I get it! I also understand why others don't. ES writes great songs and his records have very high production values. Our cover band plays one of his songs and it is nicely constructed, good to play from a bass stand point and are very popular with audiences.

Small, light, loud but still sounds good at low volumes and capable of being gigged on its own. . . Super Compact or Super Midget. There's also a Bergantino AE210 in the classifieds. Not so light but cheaper and still one of the best 210 cabs out there.

I know this is a forum about bass, but. . . . there's so much agonizing, nit-picking and over thinking about the tiniest detail of bass that the biggest "issue" is nearly always overlooked. No one else cares about our wonderful bass gear and sound, but add some vocals and we're going to be more use to a band than any non-singing bass prodigy. I sang in the band at school, but I went on to play with some good players that put my "croaking" into perspective. I stopped singing. I should have worked at it but I haven't sung since and it restricts my bass playing options every day. I know I could have joined a couple of good bands if I'd been able to do even passable BV's. I lost out on 4 gigs at New Years and found out on Monday that a gig I was lines up for is now going to use a singing bass player! Everything else is faff. . . . play bass AND sing. You'll be working when me and players like me are left sitting at home.

The big selling point for TC was their "We can drive 3 cabs" line, so with their amps at the time running down to 2.67 ohms the cabs had to be 8 ohm. IMO for smaller cabs there is no point in 4 ohm versions (unless the amp runs down to 2 ohms) because you always get more volume and better tone from more speakers.

[quote name='SH73' timestamp='1488836843' post='3252314'] How hard is it for you to sell a bass you like the tone of, playability etc. but use the least. [/quote] Not hard at all. If it's used the least that must mean you've got a bass(es) that sound and play better and you use the most. I sold my Wal mk3 Custom 5 string bass. Wonderful as it was I'd only gigged it twice in 3 years and I hadn't taken it of its case in a year. So when I got an offer I took it. It was the best sounding bass for the originals bands and studio work but when that dried up other basses became more appropriate. My Lull P and Lull J are fighting each other to be played. I don't have a [i]one-in-one-out[/i] policy, but I do have an [i]it's-got-to-be-gigged-to-be-kept[/i] policy. I have no problem selling stuff that won't be used.

I'd vote for Sadowsky. If you want to dip a toe in the water their Metro's are a good place to start. Not cheap, but you could still call them "entry level".

Upgrade the P pickup. Then you won't need to add the J.