chris_b

I would expect that everyone should understand that limitations arising from any medical condition are excluded from the intentions of my comment.

[quote name='pmjos' timestamp='1473531040' post='3131061'] I know, they are iconic, I know they are a part of bass history. Help me here..............I just don't get it. [/quote] Not to many of us, they only have a walk on part and. . . . you don't have to.

As a general observation I'd say if anyone can't get around on a 5 string bass then they need to work on their technique. If you need to use different open strings to standard tuning then even a 5er might not be the best option. A better approach seems to be a bass tuned down to the tuning you want. Multiple tunings seems to indicate multiple basses.

[quote name='catmanhog' timestamp='1473613375' post='3131667'] Been using a TH500 for about a year and at times, it lacks punch - i play mostly old school soul through the TH500, 2 Markbass 2x10's and mostly a jazz bass but at times, it becomes impossible to dial in a sound with punch and it honestly sounds nasal rather than anything else.... [/quote] I read the first page of this thread and decided to skip the rest. I apologise if this has been covered. "At times" seems to indicate that at [i]other[/i] times the rig sounds fine. How often does this problem occur? What happens when it doesn't sound good? Is it in a particular room? A particular band or song? If you can work out where the difference is then you got this problem sorted. For any amp, if you want to get a less nasal tone dial out the high mids; more punch, dial in low mids. As others have said, the pairing of the TH500 and your cabs or the tone out of the J could be the problem. You have good gear but some pieces sit well together right out of the box and others need working on to dial in the sound you want. I've heard players getting a great sound with MB cabs and an LM2/3, but IMO the Travellers can sound "thinner" than the Standard cabs. Where do you play the strings? Closer to the bridge could be more nasal. I play over the P or J neck pickup and the sound is fuller and rounder. My amp TH500 usually sounds great but in some rooms I can't get a good sound. On those gigs you just do the best you can and accept that if it sounds good out front then that's got to be good enough. I've used a TH500 for a couple of years and I can find tone and punch for days. IME the only thing the TH500 doesn't do is zing. I used Bergantino cabs and now use Barefaced. I play either a Lull PJ5 (flats) or a Lakland 55-94 (rounds). Totally different basses which get a great sound in a Soul band, or any other genre. If this is an occasional problem then the sound is in there you've just got to find it on the bad gigs, but you've got a good starting point for Duck Dunn bass lines.

[quote name='luckydog' timestamp='1473068179' post='3126474'] Oh, I think we can. [/quote] Really? Mustang Sally and Sex On Fire are original songs by writers who cared about what they did and wanted success by reaching the largest audience possible with their songs. They are exactly like every other pub band who write their own songs. . . . except their songs are successful. Isn't that what every song writer wants? Who has a hero in their field of interest who is a failure? As I said, if you are playing to empty rooms then you are the only one who can fix this. Change where you are playing or change what you write. Remaining the same should not be an option. Unfortunately much of the new music on the British club and pub scene is not "fresh and unique". Too much is dull and derivative. The good guys [i]are[/i] playing to full rooms.

You've got agreement in the band and a better player on the bench. What's keeping you?

If an audience doesn't turn up you have to ask why. Maybe it's a crap venue. Maybe it's the economy. Maybe it's the competition. Maybe the band isn't very good. The truth can hurt but you have to know why before you can do anything about it. What ever the reason only the band can make it change. Original music might be very worthy but is it interesting to an audience? You can't slag off more popular music. There's nothing special about new or original music. It takes it's chance and as the gigging world is a meritocracy you can't complain if you're not wanted. Playing to empty rooms usually means the audience isn't bothered about what you're offering and if even you're mates don't turn up you've got to start recognising that change is needed.

[quote name='blue' timestamp='1473009834' post='3126019'] But remember the impact of The Beatles was a lot bigger in the US than in the UK. [/quote] The impact in the UK was seismic. Nothing was the same after 1963.

I'd just play along with songs. Start with the medium tempos first and build up. Don't move on until you've mastered what you're trying to play. 16th's? I haven't played any of those in years. Figure out something better and less frantic to play. I learnt with 2 fingers but play with 1 finger more and more these days. Another thing I've noticed, my style is changing. I used to be a lot busier. As I get older I'm playing fewer notes.

Reggae isn't complicated, but if you want to do it properly then you have to put a different head on. Play with a Jamaican drummer and your perception of groove changes dramatically. The beat is on its head but when you've worked out what's happening it makes complete sense. The best Reggae bass lines are Intelligent, fat, solid, relentless and totally locked with the drummer. I did a Reggae gig as a dep last night with a Jamaican drummer taking care of business. We were a trio, playing mostly original songs, and we had the whole place dancing all night. Reggae is happy, good time music. I love these gigs when I do them, which isn't often enough.

Now put some flats on it, and make it sound even better.

I think you need to explain that post.

If anyone is dragging the band down they have to go. It's the only way the band will survive. Is it worth saving? The axe has to fall.

BB, good move.

Send it back to Paul Herman? I took mine to Charlie Chandler and he immediately passed it to Paul. The easier answer is. . . . stop digging in!

From 62 to 74 and Stax and Atlantic was my real Golden Age. But every year has great bass playing and the last 20 years contains some of the best bass playing yet.

The best stand for a combo is an extension cab.

I think you can get a better sound by buying a Sadowsky outboard preamp. Probably cost less as well.

[quote name='alyctes' timestamp='1472772718' post='3124230'] if I want that sound, what;s the best way to do it? [/quote] Sit in a darkened room until you feel normal again?

[quote name='TheGreek' timestamp='1472749480' post='3123921'] The only Jazz I've ever owned that I got on with was a Overwater custom - [/quote] The Overwater J's sound very, very good but they all seem to be on the heavy side (around 10lbs to 12lbs on their website) so, sadly, I'll never own one.

The F1 was my least favourite amp of the last 20 years. I didn't like the tone at any volume. I got what the OP is describing with Bergs and Aguilar GS112's. I'd checkout the amp. Can you try the cab with a different amp?

For me the BB2 has too much low end. I had one and sold it. I replaced it with 2 SC's and they are just right. With a synth I'd imagine that you could use a cab that will reproduce higher frequencies? Maybe put a Super Midget on top of one of your SC's.

[quote name='civilian_project' timestamp='1472681813' post='3123336'] who does everybody believe makes the best jazz bass? I'm talking£1000-£2000 Mark New or used. [/quote] I would suggest any Mike Lull or Lakland and always buy used. My experience of these basses is very positive but I couldn't decide which is best, or if are they better than other basses in this class of instrument. At this price point you're looking at different flavours of great and personal preference would be the only deciding factor. "The jazz debate"? For me there isn't much to discuss. Since 2003 my main bass has been an active US Lakland 55-94 and it's been joined, for the last 4 years, by a passive Lull PJ5. I've bought a couple of other basses in that time (Fender Jazz and Rob Allen) and while they are good they've never made it out to more than a handful of gigs because of the competition. I've been checking out Sadowsky Jazz basses lately but it is more than likely that my next bass (if there ever is another) will be a Lull or Lakland.

I swapped the bass and guitar over in the interval on one gig. I was in the corner and it sounded terrible. The guitarist was fine, which was fortunate. I came back to that gig a couple of years later and went into the corner again. This time the sound was fine. The difference. . . . Bergantino cabs. They seem to attenuate the bass response and always worked well on difficult or boomy stages.