chris_b

[quote name='lastanthem88' timestamp='1460538304' post='3026523'] alot of guys tell me that TC power outputs are still very misleading? [/quote] That started on Talkbass and unfortunately got taken up over here. The misleading bit is when people quote the power module rating like it means anything. TC use power modules that are lower power and boost the signal. The RH750 for instance is as loud as any 750 watt amp. If you like the tone they are as loud as they say.

[quote name='solo4652' timestamp='1460470092' post='3025965'] Hmmm, I found myself thinking: - Yes, that great. What happens now, then? [/quote] The groove wasn't enough?

I don't know any drummer who doesn't like a loud bass, but . . . . I'd have moved the cab forward so that it was firing just past him. I regularly have to deal with small stages and my days of just accepting that the guitarist and vocalist have all the room and I have to squash into a shoe box space are long gone. If I need to move everyone around so that everyone gets a good sound then that's what I make them do.

If anyone had ripped of Led Zep then Peter Grant and the "boys" would have sorted that out at the time. You can bet LZ management will be right on top of the pennies.

These things only go to court if the guys being sued say up yours and think they can bluff it out. Intros and arrangements are not covered by copyright so can be used at will, as Andy Summers found out. . . . . [url="http://ultimateclassicrock.com/sting-puff-daddy-2000-a-day/"]http://ultimateclass...ddy-2000-a-day/[/url]

I wouldn't blame greedy estates. I'd blame lazy songwriters. Apparently Led Zeppelin had a policy of taking songs and changing just enough so they didn't get sued. I read that Page was rather pissed of with Plant because he didn't change the lyrics enough. You can get cases years later because a recent court case ruling might have made success more likely.

I use both of mine. Even though I don't need 2 for the volume on most gigs, and while 1 sounds great, I still think I get a better sound using 2 SC's. I only take one cab on very low volume gigs.

I liked that. Never mind the bass, I'm really going to have to put more "life" and "bounce" into my playing.

How small and light do you want to go? There are 2 Bergantino AE112's in the classifieds. They are fantastic sounding light weight cabs. I'd also checkout an Aguilar amp (TH350 or TH500) and 2 Barefaced One10 cabs. You can't get smaller or lighter. I like the TH500 so much I bought another as a backup and I know a keyboard player who uses a BF One10 to handle the bottom end in his Hammond/piano rig, in a loud rock blues band. I'm a BF fan and I was pretty sceptical about the One10 until I heard that keyboard rig.

If all your basses have the flush type of straplocks then it makes sense for you to have them all the same. That none of mine are is the reason I'd never buy a bass with flush straplocks fitted.

[quote name='peteb' timestamp='1460284772' post='3024308'] My main point is that there seems to be a general opinion on Basschat that a good drummer is a quiet drummer, and that is not the case… [/quote] A good drummer is on who uses his ears and understands that he is playing in a band.

[quote name='TimR' timestamp='1460194389' post='3023390'] The proper way to mix for any venue is to get the vocals clear and distinct to the majority of the listeners. Then add the other instruments. [/quote] I agree, totally. I don't often end up in that situation but it is the right way to do things. [quote name='TimR' timestamp='1460194389' post='3023390'] It's nonsense to regulate the band volume to the kit. Drummers who can't regulate their volume to appropriate levels need drum lessons. I won't play with any 'self taught' drummers anymore. [/quote] Totally, totally agree. If a drummer can't adjust his volume then he's usually not worth playing with.

How much did it cost new? How much did you pay for it? Is it in the same condition as when you bought it? How long have you had it? How old is it? How popular are these basses? How much do similar basses go for in the used market place? Do you want to trade? Up or down? I don't care about the state of the strings, but I'd expect a bag or case in the price. When I buy a bass I don't care if it's been upgraded. As far as I'm concerned mods are money down the drain. I'm unlikely to want to be paying for someone else's fiddling about. I'm also very unlikely to buy a bass that's been modded anyway, but that's just me. PS To anyone putting an ad together, remember to tell everyone where you live and how much the thing weighs.

Sad news. He played during my favourite Bowie period.

I think all sales have/are dropping through the floor. Recession mentality is still strong and currently very few of us seem to be brave enough to throw lots of money at musical instruments, especially when the quality of the lower priced gear is so good. Also sellers don't do themselves or others any favours. If gear doesn't sell in the first week there is an instant price drop. I wouldn't buy anything for the first few months because the price is going to keep gliding down. You just know that, "This is my final price" will be followed the next week by a lower, "One time price". Hang on and it usually goes even lower. If you're selling, be brave, work out your best price and stick to it.

[quote name='Japhet' timestamp='1460105512' post='3022555'] Pub gigs have always been determined by how loud the un-mic'd drums are [/quote] Not last week. The SRV style guitarist had to mic up the drums (he was a dep and playing quieter than the usual drummer) because he was getting swamped by the two of us! All very silly, but as I said before, the audience loved it!

[quote name='Happy Jack' timestamp='1460096417' post='3022455'] The title comes from the moment when his first band upgraded their one, shared combo to a WEM Dominator, rated at 17 watts. [/quote] I currently have 2 800 watt amps, and each has more watts than my first 3 bands put together. For my first gig the whole band, including PA, had 150 watts. You could hold a conversation anywhere in the room!

In the 60's and 70's I built up from a 50 watt valve amp through a 118 cab to a 100 watt valve amp through a 412 100 watt cab. I don't know how to compare that with now but we must have been a lot quieter. I guess that one measurement is that I didn't start being affected by tinnitus until the early 90's, over 25 years in. I think that volume has become excessive and more of an issue in the last 20 years. These days I'd say 60% of the gigs I do are too loud, so those bands are too loud, and therefore I'm too loud as well, but I don't see audiences or promoters complaining about it. The levels can vary but IMO we can often be louder than makes sense. It seems the quieter bands have fallen by the wayside and it's the loud ones that are gigging the most. At the end of the day I play as loud as the band leader wants me to. My gear will cover everything with ease, from an acoustic duo to Led Zep on 11. I'm flexible enough to do the job I have to do to, so while I have a view, there's no point in complaining, so I don't. My ear plugs are the most important part of my rig.

A few years ago we went to see the Fela Kuti show in at Sadler's Wells, 3 times. On the last time Femi got up and did a couple of numbers at the end. We thought the cast was good but Femi just blew them away. My first experience of Afrobeat. Those nights were some of the best music I've heard in decades.

Nice rig.

IME, the cab is the messenger so it often gets shot first. It's easy to put the less "coloured" cabs in the frame when the amp, bass or technique might be at the heart of an "issue". Getting your "sound" is not always as straightforward as it used to be. I'd suggest that modern cabs are the strongest link in the chain and if you're used to "old school" cabs then it'll take a lot more readjustment than you'd expect to adapt to hearing your "sound" rather than the sound of the cab.

Our old drummer in the cover band had a Vistalite and he also had the Vistalite with the lights in. He always used it because it "punched through" the noisy guitars. It just sounded harsh and hard to me. His wooden kit sounded much better.

I don't buy the "nobody cares what the bass sounds like, so what it sounds like doesn't matter" silliness. That is a myth and a fable. Everything you do as a performer matters. If you operate it right, a better bass will sound better, which will make you feel better about your playing, which will make you play better, which [i]will[/i] be noticed by the people who really matter to a bass player, ie the other band members, the potential band members who are in the audience and any band leaders who are looking to replace their bass player because he sounds crap because he doesn't think that what the bass sound like matters to anyone. I played Mustang Sally a couple of weeks ago in a band of sh*t-hot pro musicians. Wilson Pickett would have signed up there and then. That's how Nathan East got started, when Barry White saw his band in a club and signed them up as his touring band. What does surprise me are the players who have no intention of gigging and have a stadium rig set up at home. One example that raised my eyebrows was a 500 watt Thunderfunk and 2 Epifani 410 cabs set up in the front room! To all the guys who just want to sound good at home, buy an AER combo. They are the best.

Tone every time. Playability is personal, it's about what I like and don't like about the feel of a bass. Hopefully I'm good enough to be able to play any instrument, even the ones I don't get on with. Tone is what a musician sends out into the world to be judged on. It's what others hear when they make decisions about my playing. A great tone is everything.

I don't remember any fuss being made when Trace came out with their black painted boxes. Those things looked pretty second-hand with in 5 mins of loading them into the van. Also no fuss over the tuff coated Peavey cabs in the 80's. I seem to recall that the sound of a cab was the important thing back then.