chris_b

I saw them with Craig Fuller and with Shaun Murphy. Even the bits that weren't great were better than most bands can achieve. Richie Hayward was the best rock drummer. . . . . ever.

You're gear will never remain pristine if you're playing in a band. The only way to keep it that good is never use it, and that's not the point of it. You could still be playing in a band using that combo in 20 years time. Your gear is very robust and designed to be used so use it. Anyway, always get a second cab if you want more volume and more tone. More speaker area means more air moved which is how you create more volume.

I've got most of the records. Used to play Willing in a band a few years ago. Love this one. . . [url="http://www.youtube.com/watch?v=o9ZfqtQyoCc"]http://www.youtube.com/watch?v=o9ZfqtQyoCc[/url]

[quote name='ambient' timestamp='1455927111' post='2983807'] They were string through, and had little metal cups on the back of the body for the string ball ends to fit in. These weren't fixed and would fall out. The neck pockets were both cut badly, they were too big and cut at an angle. [/quote] I believe Fender upped their game around 2008 - 2009 and their instruments and QC improved a lot.

Excellent. Enjoy the trip.

If it sounds and feels [i]that[/i] good then it can be a roadworn, black, pointy bass with maple fret board, death metal stickers of all over and a little pink stuffed kitten hanging from the tuners for all I care. I might be lying!

Are you sure it's an American Deluxe and not the Standard, or is it a non American Deluxe. If it's the real deal then, as I said, seems like a good price to me.

Pickup "playing up". What does that mean? How old and what condition? Unless it has serious damage (truss rod etc) £650 sounds bloody good to me. That's cheaper than a Standard in perfect condition. A replacement set of pickups could be around £120. Many thought Fender 5's had iffy B strings for the first few years. I've read that they fixed that and various QC stuff in the last 5 or so years, but whether any of that is a problem or not is down to your preference. As it's with a friend, I'd borrow it and try it with a new set of strings after a full set up.

No justification needed, my gear works for its living. It only has to sound good, be light, reliable and never need maintenance. I got lucky with my passive Lull with flats. In 4 years I've only tuned it. There is a main rig (Aguilar TH500~BF SC's~Lull PJ5), a backup (Thunderfunk 750~Berg CN212~ Lakland 55-94) and maybe some stuff I'm trying out (currently Mesa D800~Fender Jazz). No whims or fancies involved here. All potential purchases get evaluated against what they will replace. A few years ago I spent 2 hours A/B ing my Lull with a Nordy PJ5. I'd always wanted a Nordy but the Lull thrashed it, so no more Nordy interest.

It seems to me that you just need to find a 1981 pot and replace the replacement. The soldered joint has already been broken so no additional damage to the "originality" can be done here. That's the best you can do. There are various levels of OCD when it comes to collecting vintage things. The guys who will pay the most will demand the highest levels of originality and condition, and why not? If you have a busted bass or one that has a serious problem you've got to fix it. You'll get nothing for a non-runner, so you fix it and move to the next level of vintage collecting. The almost original level. IMO, a replacement pot shouldn't be a deal breaker. As far as I can see very few people would have a problem with a date-correct replacement.

The OP asked for comments and all you lot can do is criticise mine. Exercise some of those outraged brain cells and give the guy some "better" suggestions.

Aaahh. . . the old call one number and start a completely different one trick. I had a guitarist start a regular number (I think it was Amazing Grace) in 4/4 rather than the usual 3/4. We were a duo so the train wreck was total!!

For a brief period Herman's Hermits and The Dave Clark 5 were bigger in the US than the Beatles. Think on that one!!!!

Several things will help. . . A louder amp. I'd classify what you have as a practice amp. If you want to cover all eventualities you need at least 500 watts and a 212 or 410 cab. I prefer 212's. Change your EQ. Aim to push the low mids not bass frequencies. Keep it simple. You're on tour so with a lot of set ups, break downs and the rigours of travelling. Take care of your gear because if you don't things will go wrong. If you're playing 2500 seater's then you'll have FOH. Make sure you have good monitors and a good monitor mix. If you don't then a good 500w amp and 212 cab is essential.

Unfortunately a lot of people around the world didn't get to survive the legacy of that particular idiot. And Americans can be that stupid. They didn't learn anything the first time around and voted him in for a second term. That was unforgivable.

The PF800 has always had good reviews and doesn't seem to have had any of the reliability issues that's dogged the PF500 in the past. But I have the TH500 and it's a great amp that I'd recommend over many other current amps.

If your slow song loses the flow and energy of the set you've either picked the wrong slow number or you're playing it wrong. I'll usually suggest any slow numbers (one per set, max) go somewhere in the middle of the set. I think starting a pair of encore numbers with a slow number can work.

Have just sold Dave a cab. Great guy and good sale. Many thanks.

Bartolini pickups and preamps seem to have been the first choice for a significant number of boutique bass manufacturers over the last 30 years. I have the original Bart pickups and NTMB-L preamp in my Lakland and they sound fantastic. I replaced my P bass pickup with Barts and a Bart preamp, installed and modded by Charlie Chandler back in the 90's and that's the best that bass has ever sounded. Scooped? Never. The ones I've heard have been full, fat and warm.

I tried this once with a horizontal 212 and 2 112 stacked on top. I didn't hear much of an improvement over my 212 on its own and carrying the extra cabs was a pain. As you already own the cabs. I'd say try it and tell us what you find.

Blue, I understand where you're coming from. As I said, there are many who have no idea of what the Beatles spearheaded in term of musical and cultural change, but you'll have a tough job changing many minds on here. "Just another band" wouldn't be generating the significant interest in Liverpool, and resultant jobs, that there is today, some 60 years after the event. That's unique and a measure of what the band achieved back then and still represents today. John Lennon might have called the Beatles "just a band". You can bet your life he didn't believe he was writing "just some songs". A usual he was just lashing out at McCartney.

Good news, fingers crossed then.

Have you got your permits and visas working in the US?

That's settled then. You get the cab and we all form an orderly queue to come and hear it.

There's a guy on TB who is using a One10 and Super Midget together. He seems to be very happy with that combination.