chris_b

If the truss rod adjustment irritates you that much why is this bass on your list in the first pace. I'd be looking for a good used Am Std P bass.

[quote name='lucky' timestamp='1468356678' post='3090446'] And i never knew Ford had Volvo [/quote] They did but now Volvo is now owned by the Zhejiang Geely Holding Group of China.

I put this in the last thread about dark stages. . . . if you can't see your frets the audience can't see you. Get some lights.

If you are not travelling to gigs in a car, and you don't have guaranteed access to a PA system, you'll have to go light, small and powerful enough to be effective. 500 watt D class amps are between 4 and 7 lbs and the smallest, lightest and loudest cab I know of is one of the Barefaced 112 cabs. Put it on a trolley and you're in business.

You say, there's more of this in these cabs and more of that in those cabs but if the band can't tell the difference between either rig. . . . . why carry the extra weight?

When your band says they can hear "no difference", is that between 2 x 210's and 2 x 110's or 1 x 210 and 2 x 110's?

What flexibility is there when they are all racked up? Will you have different preamps that you can slot in?

Is this bass a good one? Does it feel and sound unique? Many modern basses can beat vintage instruments on a gig. When you see interviews with the top US session guys they all have old Fender P basses purely for recording but use newer basses for the gigs.

There are 2 routes you can take; keep the bass as it is as an investment (and look out for an original case) or use it as a player. Collectors will only be interested in paying higher prices if the bass is in its original condition. If this bass is totally original then any changes at all will adversely affect it's resale value. Can you raise the bridge to clear the buzzing frets?

Fantastic Anthony Jackson video. I'll be depping without charts or safety net tonight. The Band Leader apparently sent the set list to the wrong email. If finally getting it right by the third verse is good enough then this is going to be a great night. For me I know it will be a bad night of cock ups and bodges as I don't know most of his songs. Music stands have their place.

I've played in bands where anything was OK and bands who wanted everyone to dress the same, or banned jeans, or banned charts and one where we had to do the Bootsy Collins shuffle during the numbers. Some of the least professional have been the guys trying to control the image.

It's all about image. No stands means you've learnt the songs. I use a music stand because I'm either depping, playing with occasional bands or playing with guitarists who can be rather flexible with the arrangements. I never rehearse in any of these situations, so I'll use all help I can get. In the old days I never used stands because we rehearsed a lot and wanted to look "cool".

Amps don't get damaged by music being played through them.

Good move. Should sound much better than 1 cab.

You're throwing away everything in this cab that makes the sound you love. It won't sound anything like it does now so. . . . is there really any point? I'd buy a cab that you can audition and will give you the sound you want. For me that would be a 4 ohm 212 or a the 4 ohm Barefaced Two10.

We briefly did a couple of numbers by those bands. They didn't go down as well as the rest of our set so they got dropped.

I have a trolley for anything further than 20 yds away. My accessories case is by far the heaviest thing I have to move about these days. Anyone got any Neo stands?

[quote name='White Zombie' timestamp='1467725852' post='3085646'] I've never been into amps with 50 knobs along the front, like to keep it simple. [/quote] I agree that simplicity should be the golden rule but for me it doesn't matter how many controls there are on the front of your amp but how many you have to use to get a good sound. If you buy an amp with a great natural sound then you don't have to do much more than switch it on. My Thunderfunk is one of the best sounding amps I've played even though it has 14 controls on the front and 3 dip switches. In spite of this it's the easiest amp to operate because with the Timbre control at 11 o'clock and all the other controls at 12 o'clock you only have to set the Master volume to get a fantastic tone. That's just 2 controls.

I'm only talking about the first three notes of any Chuck Berry song as well.

Yep. You could easily hear most bass lines even in a busy mix at 78.

[quote name='discreet' timestamp='1467795535' post='3086246'] I'm great at learning stuff by ear me, and I certainly wouldn't fancy it much. [/quote] I'd write it down then playing it wouldn't be a problem, but I know getting a number with that many changes into my old brain would be nigh on impossible.

[quote name='discreet' timestamp='1467796064' post='3086250'] That would aggravate my OCD to a crazy level! In fact, just seeing the pic is aggravating it now! [/quote] My OCD got fired up by the white 4 way. Black wiring on stage, people!!!!

My son went to see the Stones at Twickenham and (from off stage) Keef played the first 2 chords to Brown Sugar. He said he'd never heard a noise as loud as the whole stadium (70,000-ish people) cheering those notes.

The intros to almost any Chuck Berry song, including, Johnny B Goode, Memphis Tennessee, No Particular Place To Go etc.

[quote name='peteb' timestamp='1467756690' post='3086047'] Right then, a number of points the first being this a skill you develop. Break the songb down into small manageable sections, say 2 or 4 bars at a time. Then before you pick up your bass sing the baseline out loud. Basically if you can sing it you can work out how to play it. [/quote] This is how you do it. Looking at this overall, it is a skill you have to learn and you do that by repetition and training your ear. Start with simple songs and try just playing root notes of the chords so you hear the relationship between root and 5th and 4th notes etc. Work on the structure of the number first; intro ~ verse ~ chorus ~ middle 8 etc. Sections are usually repeated so you might only have to work out half of the number. Get that right and you can flesh out the notes later. You're building up the number layer by layer. Write the chords and breaks down.