chris_b

[quote name='randymussel' timestamp='1470676025' post='3107567'] Sadly Lulls, Roscoes and Dingwalls are mostly a bit above my means (and frankly, too good an instrument for my ability!) [/quote] Look for a Lakland 55-01. The last time I looked there were a couple of reasonably priced Lakland 5ers in the classifieds. Come to the SE Bass Bash in Addlestone 24th Sept. You can checkout a lot of basses there. If you find a bass you like that's "too good" it's up to you to get better and even out the imbalance.

[quote name='bigjimmyc' timestamp='1463940951' post='3055190'] I suspect that it played up a bit due to standing on the cab at high volume. [/quote] Since the days of my Mesa 400+, and some valve issues, I've put all my amps on foam blocks on top of the cab. I've never had amp trouble since.

Send Alex an email and tell him what you want out of your gear and he'll make some suggestions. He was spot on with his recommendation to me.

It seems to me that if you start anything with negative thoughts then it's a hard slog to get any joy out of life. IMO this is a great set for a cover band because it's a great set for an audience. On the networking front - the last audition I did for a band was in 1985. Since then I've constantly gigged. For several years I was playing 150 gigs a year on a professional level. I managed to do this by word of mouth or from people seeing me play and I can't network for toffee! One of the better gigs came when the band leader saw me trying to play my socks off with a very average band in a dump of a gig. Play every note like it's the most important thing in your life. Every musician you play with or who sees you playing is an opportunity. (/pep talk)

[quote name='AndyTravis' timestamp='1470343513' post='3105415'] Opportunity duly taken, [/quote] Good stuff. I'm with JTUK on this. I have played with some fantastic players and I can remember every one of them, but I couldn't tell you any of the songs we played.

None of those songs are my taste but for a cover band that's aiming higher than the usual run of the mill pub stuff, they are a great set of choruses and hook lines. And none of that silly time wasting rehearsal business!! If the band is a good and professional bunch then I'd get out my megaphone and say, "Don't screw it up!" Anyway, let me know if you need a dep.

You don't need the cash or you wouldn't be tempted to pass up this opportunity. If you don't want to play bass in a good band (which I'm assuming it is), in good surroundings to good people then why are you playing bass? If you make a good impression in any band you'll be networking and everyone has side projects. I'd happily do this gig and I'd be travelling from Surrey.

Was this "SS Amp in Service Scam Shocker" a Daily Mail article chance?

[quote name='Iheartreverb' timestamp='1468749971' post='3093015'] so here's the story. [/quote] If you're comparing your cab to an HLF or 810 it will sound totally different. The HLF is ported and designed to go very big in the lows, which IME gets very muddy and the 810. . . . is double the size. Not a fair fight for the Matamp. I play with a loud guitarist using 1 Twin usually with no PA support and I bring everything to a gig, just to be heard. Tomorrow I'm taking both TH500's and both Super Compacts and daisy chaining both rigs. You have to be loud enough with these guys so I'd suggest (as has already been mentioned) over compensating. You say you [i]usually[/i] have PA support, so you have to be ready for the gigs where you're [i]not[/i] in the PA. More speakers is always better because they move more air. A BF Four10 is up there in SPL terms with most 810's and will anchor and underpin the sound on stage and out in the room. A 210 won't do this at higher volume.

A good tech will check voltages etc. MOSFETs can need biasing. Caps can be changed. Not sure how any of this can be interpreted as a "problem".

The TF750 is a fantastic amp and will run at 2.67 ohms. I used to run mine with a 212 and 112 when I needed a big sound for my loud bands.

Govons, A 212 at 4 ohm and a 112 at 8 ohm makes a 2.67 ohms load on the amp. This is good as all speakers, each of the 12's, will get the same power from the amp. If your amp is 4 ohm max then you can't run these 2 cabs. If you like the cabs I'd get a new amp, the Magellan or Mesa D800 will handle 2.67 ohms, then you can run either or both cabs. A good and flexible modular set up. If you like the amp then you need to replace the 212 with an 8 ohm cab. The suggestion to change a speaker, means you'll have to change the 212 because it will have to become 8 ohm in order to match the 112. That's expensive, might sound bad anyway and will totally change your sound. One last suggestion. Buy another amp like the one you already have. Run each amp into each cab and daisy chain the amps.

Do the first gig and decide after that.

The drivers are totally different. Gen 3 speakers are designed by Alex and Gen 2 speakers are off the shelf items. They might sound OK together but I'd still email Alex and ask.

Pete Stephens told me he though the wood altered the sound of his basses. That's why he preferred to use the mahogany core.

The best? Who knows. Take your pick. I wouldn't buy an Ampeg PF500 because of the issues they had, which I'm sure have been fixed by now, but all the units that had "issues" are still circulating. Apart from that, I don't think there is a bad amp on the market these days. Amps I know and getting good reviews; TH500, TH530, Mesa D800, Genzler Magellan. . . plus what everyone else has suggested will also be good. Cabs: I'd look at getting 2 112 neo cabs. I'd recommend separates because you can upgrade more easily.

Everything Nathan East does is perfect. Even the fluffs sound fantastic. NE and Steve Gadd, that's the best rhythm section Bob Dylan's ever had.

[quote name='bassjamm' timestamp='1469923658' post='3102092'] As I said in my original post, I've bought a jazz, but I keep coming back to my P bass. And I love my P bass as it is. I'd just like the option to have some of that Jazz bass honk I suppose. That's what's got me thinking about the pickup addition. Adding the extra pickup must give me that honk. Surely. [/quote] Sorry. . . reread your post. My only suggestion is that the sound of a Jazz bass is the sum of both pickups and a PJ will sound like a P with a little extra, rather than sounding anything like J.

I'd say the middle 8 (philparker's bridge section) is A E Bm A E A A way of making what you're playing stand out against a record is to play the line an octave up.

The best 5 string P bass I've found is my Lull. I've put this bass up against a Fender and Nordy and it was was better than either.

Isn't the gloss all about the hours spent buffing [i]after[/i] the painting?

It's cheaper and easier to do this in steps. I'd find the best P bass pickup (I chose Bartolini) and put that in, maybe also change the pots and the cap. Play the bass like that for a few months to see what you think. I changed the P pickup on my bass and loved it. I then put the J in and got about 10% improvement. Not what I was expecting and certainly not worth the money. My experience was I got 90% of the improvement with about 30% of the cost. IME in terms of the tone the other 70% was wasted money. For me the bottom line is, if you want a Jazz bass sound I'd recommend getting a Jazz bass.

Anything that improves playing is OK by me. I can see why compression used in the studio because the "idiosyncrasies" of most players technique get annoying very quickly when you have to listen to them over and over. But for me I want all the dynamics when playing live so no compression for me.

CK is one of the great bass players, but how does anyone make sense of her Motown claims? Of course she recorded for Motown and could easily have recorded versions of the songs in question, but the original versions of these songs she said she played on are so definitely JJ that she's got some wires crossed somewhere. This article is from Dr Licks, Standing In The Shadows Of Motown author. If this is true (don't know why it wouldn't be) she's got some major fantasies floating around. [url="http://chnm.gmu.edu/courses/magic/kaye/"]http://chnm.gmu.edu/...ses/magic/kaye/[/url]

When I was trying to be a rock star I bought my canary yellow suit from Kings Road, Chelsea, but these days it's all black from M&S and Primark. Ho hum!