chris_b

A sold out event has reached the safety limit set by the council and emergency services for that space.

I changed cabs from a 212 Bergantino to 2 112 Barefaced cabs and I had to turn the amp down, from 12 o'clock to 10, to get the same volume. Some cabs are better than others in turning their power into SPL, but volume is the easy bit. Getting a cab that sounds good is the goal. Alex has smaller cabs that will be louder and clearer than your current 610. Your sound will change (IMO probably a significant improvement) so I'd drop him a text and discuss your sound.

Why pay someone to cut up your bass when you could upgrade your outboard preamp (which is more easily replaceable and upgradeable) and get the same effect at half the cost.

If 8 ohm is half of a 4 ohm load and 12 ohm is less than that where is the percentage split between the two cabs? I know the cabs are well within their limits but as to the actual numbers? Dunno!

I saw them on Thursday. What a great band. Joey Dosik left me cold except when he was playing with the band. I've never seen such a happy looking bunch of guys on a stage. They were having fun all night.

Only your sound. . . ! Swapping speakers might improve the sound of the Ashdown (also might not) but it won't sound half as good as the SC, because they were designed to work together. Why isn't your Super Compact enough?

Do you need better monitoring? Get a long lead and get out front to hear what the sound guy is hearing. Then you can give the orders. If you need to be louder then tell them. No problems with that.

A good strap is essential if you have back issues. Mine are 3-4 inches wide, but the area where you can make a real difference is getting a light bass. I'm comfortable with 8 1/2 lbs. Anything heavier is a problem even with a good strap. Tonight I'm sitting on a stool as my back problem has flared up this week.

Depends on the band and the gig. I'm off to Worthing tonight on a 100 mile round trip. The gig's OK but the band is good so it's no problem for me.

An 8 ohm cab and 12 ohm cab will look like 4.8 ohms to the amp, so there is no problem there. The 8 ohm cab will get something like half the power and the 12 ohm cab will see less than that, maybe about 1/3rd, so at 500watts (are you really going to run the amp at full power?) the 112 will get 250 watts and the 210 will get less than 200 watts. I'd be surprised if you run your amp even that loud (I can't even get my TH500 to half way on the volumes with my SC cabs) so whatever you put into those 2 cabs they'll be well within their tolerance levels. Nothing in this signal chain will be stressed at all. If I wanted to add more to my SC I'd be looking at adding a Super Midget but the 210 is an interesting option. My Berg 112 and 210 rig sounded fantastic so mixing 12's and 10's can sound good. For accurate descriptions of the combined sound of various BF cabs I'd email Alex and start a discussion with him.

I don't know what kind of music you band is playing but I do a lot of trio gigs and never boost the bass at any time. When the guitarist stops there are no holes, gaps or spaces to fill. We leave those spaces empty (just bass and drums). It's called dynamics and dynamics makes the music more interesting for an audience. If you and the drummer are rocking or grooving well there should be no drop in energy level, which you have to make up for by changing tone, increasing volume or number of notes or anything else, when the guitarist stops playing or does a solo.

[quote name='wateroftyne' timestamp='1473943597' post='3134346'] . . . . or possibly someone with crushed confidence... [/quote] That's my point.

After Wings had been going for a few years McCartney was asked why he wrote better songs in the Beatles. He said, you had to make sure you'd written the very best song you could before you played it to John Lennon, because you knew what sort of reception you'd get if you didn't. I think George took a back seat because he wasn't enough of a fighter to battle the other two, especially Lennon.

[quote name='stingrayPete1977' timestamp='1473930938' post='3134189'] Which proves nothing at all [/quote] Other than changing the neck does alter the sound of an instrument.

You mention some great drummers, but they didn't change the [i]concept [/i]of drumming. I saw him play in Brussels in 1969 and he lit up the room, but what was different after or because of Jo Jones?

As I said in the other post, on his own or with help (doesn't matter) Ringo changed drumming. Before him there was rhythm drums. Accents on 2 and 4 (Earl Palmer's contribution and drum world game changer) and variations around that. Even the likes of Sandy Nelson and his drum solo records were basically rhythm drums. Ringo changed drums up to also take a lead role. But for his Tomorrow Never Knows, A Day in The Life, Come Together etc etc drum patterns I don't think there would have been the likes of Steve Gadd's 50 Ways drum pattern and the rest. Ringo showed the way for all the creative drummers who came after.

Nice one, BA.

. . . . and don't forget. . . . the TV should be in the pool no longer than 10 mins after you've booked in.

[quote name='zero9' timestamp='1473858465' post='3133612'] Shame you pulled out, possibly an opportunity missed. [/quote] I'd agree. I've learnt some stuff for auditions and deps that I didn't like and were hard to work out, but I figured that successfully negotiating the challenge was good practice and, if I did it right, was going to leave me a better player.

Not my taste but whatever VW does he does well and sounds good doing it.

Minute differences can be heard in the best studios and by those with good ears. On a stage? Not so much. I would guess most of those differences wouldn't be relevant to any of us here.

This type of song isn't to my taste and a band playing it wouldn't be one I would care to join either, but some advice for the future. If you de-construct songs, ie break them up into sections they are much easier to understand, learn and play.

Good video. Everyone on a stage should be supporting the song. This video illustrates good drumming very well and Ringo is an excellent example of a good drummer. IMO there are 2 drummers who changed drumming. Not Buddy Rich, Bonzo or even the usually out of time Keith Moon but Earl Palmer and Ringo Starr.

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.