chris_b

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!

I still carry spare batteries even though I'm mainly gigging with a passive bass, and a screwdriver to get the back plate off. Then I can put any bass into my gig bag and not have to remember any different stuff to bring for each one. I've had the tuner battery drain on me several times, so the replacements are mainly carried for that these days.

I know. Some technology shouldn't be sold to just anyone.

I'd do away with my rig if I was guaranteed a decent PA system and a sound engineer with good ears on every gig. The singer in the cover band has been using in-ears for his vocal which was an improvement for him, but as he is also the guitarist and the guitar wasn't in his in-ears he was "disconnected" from the guitar and the balance was "problematic" between the instruments. The other problem was, they ate batteries.

Me too. I've also stopped using my guitar stand for this reason. I'm putting the bass into the gig bag between sets.

I unplug my active bass when it isn't being used. That is any time I'm not playing it, including between sets. I used to run the amp volume high and the volume on the bass low and I changed the battery every year. Edit: This was when I was doing about 150 gigs a year.

Hi Dean. . . .guess I've been steering you the wrong way. I'd have put money on my 210 being sealed. Sorry. I would checkout the Barefaced 410 though. Not sure it would need any help form a 210.

Can you lift an 85lb amp and then a 165lb cab? Do you have roadies? If you do you'll have to add road cases or your gear will end up smashed to bits. Reality check.... Where do you see SVT 810 rigs being used? That's where they belong. Not down the Dog and Duck. 'Fraid so! Seems to me Lozz196 has planned the most sensible and doable option.

The Ampeg 210 weighs about 60lbs. It was a sealed cab, as is the 810, and the only Ampeg cab I liked the sound of, and I had them all.

The Ampeg 810 is 4 x 210 enclosures in the same box. If you can find several of the older Classic range SVT 210HE cabs they will work the same.

You're playing a bass. What your legs are doing should be the least of your problems.

Most people stand on a gig, sit when practising at home and do either when rehearsing. It's your first gig and way too early to start analysing anything.

If the space is there why don't you have the Eb and D frets going right across?