chris_b

[quote name='Philverado' timestamp='1458255615' post='3006155'] I really want just warm, rounded and louder. [/quote] You need to try an Aguilar TH500.

[quote name='jaakkeeeeeee' timestamp='1458559527' post='3008508'] I have two SL112's. I use Sandberg California TM5's. I have run other amp heads through the cabs and found what I was looking for but seems to struggle with the TH. Maybe I am just picky! [/quote]i But you identified a problem with the 5 sting bass! If a 4 string bass works and a 5 string doesn't I'd be looking at the bass or the EQ. Have you tried other 5 ers through this amp?

I think it's a jolly pop song. I've played it before and audiences like it, a lot. Any song that causes such a positive response would always be on my list of songs to do. I don't see why people should rant about songs they play in cover bands. Every song you play to an audience should be your best performance. A cover band isn't about personal favourites, it's about the business of entertaining an audience.

No issues with my 5 ers, What basses and cabs are you using. My TH500 sounds great with my 5 string Lull PJ5 and Lakland 55-94. This amp sounds perfect with both my Berg CN212 and Super Compacts. I'm A/Bing it with my new Mesa D800 and so far it's ahead by a fag paper.

[quote name='CletePurcel' timestamp='1458392515' post='3007198'] My question is should I really do this memorisation and playback or should I concentrate on trying to feel the patterns and scales associated with the chords? I guess my question really is as a beginner will it all gel at some point down the line or should I put the more tedious work in now on making sure I understand why the notes are written along with each chord. [/quote] You do both. Put in all the tedious technical work now and work on being able to "feel" at the same time. You also have to change your focus and thinking so you're not a guitarist playing bass but a bass player. Many if us start out having to learn everything at once. we have to learn how to make music, how to play an instrument and how to play with others. Surely as an experienced guitarist, you've already done the groundwork. Playing with other musicians, the music, notes, chords, modes, scales and timing doesn't change. Now you just have to adapt what you already know and how you play it and expand on it as a bass player.

She's lost me with all this theatre stuff. Sorry. I preferred her being a musician rather than a "performer".

These are at the top of my list of poignant songs. . . . Don't Give Up - Peter Gabriel I'm Not In Love - 10cc and my favourite. . . Shama-ling-dong-ding - Jesse Winchester https://www.youtube.com/watch?v=5uKGWpqnS8E

I've played in some bad rooms but my secret weapon was Bergantino cabs. They control the low frequencies so well that I hardly ever got any mud or boom, even on the worst stages. Another obvious comment, which seems to be news to so many players; if you think it's too loud it is, but whatever the volume, the band has to have a balance between all the instruments. On functions we always have a get in time and a end of set up time, before the guests arrive. We are always sound checked, off the stage and out of the room by that time. I played with a great drummer who bought his own mixer and monitor, just for his bass drum. He took a feed off the FOH. I could hear it loud and clear too. My playing tightened up and improved just by hearing a loud bass drum. It's a great Idea if you get it right.

Vertical, if there is no room on the stage or I'm using just one cab, but I prefer horizontal for 2 cabs.

You'd be surprised (or maybe you wouldn't!) how many great bands have poor sound engineers. Many years ago I saw Little Feat at at the Shepherds Bush Empire and when they started the sound was fantastic. Like listening to the record. I was beside the desk and noticed that the FOH guy didn't stop twiddling. By the 4th number the sound was terrible. Too loud, no balance between the instruments and no bass other than a woomfing noise. Dave Gilmour had a good guy at the Albert Hall last year. Everything was clear as a bell the whole night, so it can be done.

Also checkout a couple of off shoots. . . . Ann Street Soul and Groove Spoon.

Is anyone out there running 2 Super Midgets? And anyone regularly running a Super Midget with a Super Compact? Alex lists that as a good pairing on the website. Is anyone doing either of those? If so what is your opinion of that rig?

The TTE will give up way before the BB2.

A stool is a good idea. I've used one in the past. A semi acoustic bass will only weigh about 4-5lbs.

How heavy were the basses you've sold? I can easily manage 81/2 lbs but get uncomfortable with 9 1/2 lbs. I guess the real answer is either a Hofner violin bass, or similar hollow bass, or one of those straps that fix around both shoulders or your waist.

As you're upgrading from a 210 the BB2 will be much louder, bigger sound, clearer and have better tone. The BB2 is "similar" to many 212's so it will easily cover a 210's performance. You'll get more volume from a BB2 and you'll get more definition and clarity. When people say it's like having a blanket taken away from in front of your cab. . . . it's true. I like modular rigs. I've 2 Super Compacts. I can use 1 or 2 depending on the gig. I'd get the BB2 and start saving for the second one. Your safety net is that Alex knows exactly what he is recommending (so you really can believe him) and you get a 1 month return policy with every cab.

Blame your tools. That always works.

Little Feat - Let It Roll

[quote name='Churchie' timestamp='1457632207' post='3000465'] but can't seem to get a big enough boost to make my sound distinct enough over the lead guitar. [/quote] I think there might be several "issues" here. In any band, especially a trio, the bass shouldn't be going up and down in level with the solos or guitar parts. Neither should you be filling out the sound when the chords stop. In a trio the spaces are as important as the notes. No problems are fixed by adding a pedal. That's just trying to paper over the cracks. If you feel your sound is indistinct at one part of the number it is probably indistinct in the rest of the number, and maybe all the numbers. So I think you don't just need to work on solos but your whole sound. I'd start by loosing the pedal. You don't need it. As Lozz says, put everything back to 12 o'clock on the amp and push some mids and low mids. Experiment with small step changes to your EQ. Do you use the low note thing that Ashdown amps have? Turn it off. Be brave and you'll improve the dynamics of the band 1000%. I play in many trios and the guitarist can stop (to retune, talk to the audience or just scratch his arse) and leave me and the drums playing. We don't change anything when that happens. If you and the drummer are playing your parts properly the number doesn't droop or loose anything when the guitar stops or changes what he plays. I don't know your gear, but the other thing to focus on when you decide you need better definition and clarity in your sound is to think about upgrading your gear. You may have out grown what you are currently using.

The secrete to GAS is to GAS for something you need, not something you don't.

That's when you realise you should have had a backup.

A Roqsolid foam guard cover for my SC was £45. £50 if you wanted the printing. . . still cheaper than BF but not by as much as is being indicated.

[quote name='tonyclaret' timestamp='1457763669' post='3001596'] Was going to get a TKS S112 [/quote] Your profile says you've got a CN112. IMO that's one of the best 112 cabs around. Why would you need another 112 cab?