chris_b

I'd say that if you got to the point of finding out which amp actually[i] is[/i] the loudest. . . . . you're using the wrong amp, and any serious headroom that you can achieve with either amp will probably be lost on a 112 cab. You'll need at least 2 112 cabs to reach a point where differences will become apparent. I use a TH500 (and a 212) and even in loud bands I've never had both volume controls beyond 12 o'clock. The decider for me would be the tone that each amp produce. They are both well built, well spec'ed and the Puma seems to be a modern, clean tone while the TH500 is more of a full, fat and vintage tone. As I said I chose the TH500.

This kind of modding can work and might work, but if it doesn't you're back at square one, and you've bought some speakers you don't need, and a Redhead is going to be heavy no matter what you do to it. If you want a lighter combo I'd get a lighter combo.

My suggestion for a 2 pickup Jazz bass replacement would be a Lakland 44-01. These are a lot of bass for not much money. There are a couple in the classifieds which I don't think have sold yet.

You're not a bass player, you're a musician. Play as many musical instruments as you can.

Err. . . . remind my why everyone thinks that all music should be free these days?

This was a "session" put together for a local TV company. Motown never recorded like this. The Funk Brothers , strings and vocals would have been recorded separately.

Hendrix only became "great" because he died young? I wish people would create threads from a position of knowledge, rather than ignorance.

If this cab is only going to be used for practice, how about putting 2 new speakers in and either disconnecting the other 2 or removing them and having two very large ports.

That's enough to open your own shop! Lozz's idea of 2 212's is a good one, but still a lot of gear. I'd sort out the pedals and go for a 1 cab solution. The only one I'd suggest is the Barefaced Big Twin 2, especially pumping out a low F# at any sort of volume. You could run it with a power amp and a pre, or take your choice between any of the various 800 watt amps on the market.

IMO, yes I think they [i]are[/i] that good. . . . and I'm not even a fan.

[quote name='spectoremg' timestamp='1446572337' post='2900474'] Credit/blame? [/quote] Income.

I bought a brand new Mesa Boogie 400+ that failed as soon as we switched it on in the shop. Stuff happens. That's why there are warranty arrangements, and good people who will stand behind their products.

[quote name='chriswareham' timestamp='1446503528' post='2899946'] a guy in the audience was shouting "Simon, Simon" at me and clearly crying as I played the ending of A Forest. A bit weird. [/quote] Now, I'd have been very happy that I was connecting with the audience to that degree. The reason actors love the theatre so much, night after night, is the reaction of the audience. Why do so many musicians not connect with an audience to that level? IMO an original bass line is just a bass line. No different to any other bass line. If you wrote A Forest then you'd be just as trapped as some guy playing it in a tribute band.

[quote name='JTUK' timestamp='1446472860' post='2899581'] You don't say how much you are asking to be paid... [/quote] We always get paid. So should you.

A jam is also about trying something and knowing that no one cares if it all goes wrong. There's drummer in a tribute band who comes along with his guitar and he sings old R&B songs. I've also seen several guys who don't sing in their bands get up and front the house band.

I'd be rich if I had a £ for every time I had to play Red House! Bloody thing. I don't even like the Hendrix version. We even had to play it twice one night! We've had guys set up and just start playing. They don't tell you the song or the key. If they do that I just stand there and look at them until they stop and tell me what we are playing!

[quote name='Les' timestamp='1446461021' post='2899446'] So am I right in thinking I don't need to supply a bass (other than for my own use) ? [/quote] Ask the guy running the jam. If he insists that the jammers play your bass then I'd pass on the whole thing.

I've been in a jam night house band for the last 12 years. It's a gig on a week night so all is good. You meet all sorts. Some jammers are clueless, some are careless, some are stupid, and many are way too loud, but most are fine. Just keep an eye on them and don't let things get out of hand. It's your gear so always be in control. We are a loud band and the jammers tend to try and match our volume, so I bring lots of speakers so they can't damage my gear. I still keep an eye on what they do and have turned them down mid song if they are being silly. I never lend my bass, ever. If they haven't bought a bass they either borrow one off another jammer or they don't play. Most jams I've seen start with a couple of numbers from the house band and from then on you're playing all night and only get a rest if another bass player turns up. We usually get one or two. You'd be surprised what players expect you to busk/know. Some numbers are a train wreck. Many jammers are out of their comfort zone and under a degree of stress so I just smile and look after them as well as I can and be as positive as I can.

I think you run across lazy, complacent and day dreaming band members all the time, but I haven't played with a bad drummer, or one with a "bad attitude" for years. Guitarists on the other hand. . . . .

I've just bought Martin's last Barefaced SC. Another good sale. Many thanks.

I was just going to say that!!

Great song. We used to play it a lot. Time to dust it off, it's been rested for long enough.

There are average quality instruments at every level, but the best B strings I've played have been low volume run or "boutique" basses. The ones that weren't the best have been production line basses. So far I've never played a bad 35" B string. Sadowsky, Ken Smith and Wal are all 34" basses so my take on this is that build and material quality will be a key factor. A shorter scale might be just what you want but lower notes perform better on a longer string. That's backed up by orchestras, where the quality of the sound is critical. There is a reason why the lower an instrument has to play the longer/bigger it is.

The Dukes Of September. . . back in 1991 theses guys had a band called the New York Rock And Soul Review. There's a live CD, which I have.

[quote name='JTUK' timestamp='1446213182' post='2897787'] I think I rather pay to see what makes Gilmour special rather than someone trying to just sound like Gilmour [/quote] There was something like an 8 or 9 year gap between Dave Gilmour's last tour and this one. At that rate he'll be nearly 80 when the next tour kicks off, so seeing the real thing can be rather problematic. I don't buy the "I'd only go to see the original" view. If you're a fan, or even not, then a good tribute is a very good thing indeed. Brian Wilson went to see a Beach Boys Tribute band in Las Vegas and they were so good he hired them to play with him, as the Beach Boys. That's got to be a feather in your cap as a musician. The Straits were a Dire Straits tribute band, which contained members of the Dire Straits touring band and Steve Ferrone on drums. That was a great band by any measure, and with their "Mark Knopfler", Terry Reiss, they obviously had Dire Straits down to a T.