chris_b

I'd keep the AE112's. Those are some of the best sounding cabs I've used. I used a Thunderfunk 550 and 750 with mine and another favourite was the now discontinued Markbass LM2. IMO an Aguilar TH500 works very well with Berg cabs. I've also heard that the Genzler Megallen 800 sounds pretty good as well.

I get a nose bleed at anywhere above 12th fret. Does 24 frets cost the same as 21 frets? Get the largest number that comes at cost. Might give you more options when you come to sell. If I was big on soloing I'd get a 6 string bass.

If the band loved the sound of both your basses then you need to sort out why you are hearing something different. Maybe your expectations are unrealistic or you just don't like that bass with flats. Maybe you've put the flats on the wrong bass. They don't work on every bass. Flats sound great on my P bass but I've never tried them on the Lakland, and probably never will. The rounds sound just right on that bass.

Ah. OK. From my experience that's valve amps for you. I had an MB 400+ that has some "issues" in the valve area. If it sounds that good always get it fixed. I moved to an SVT3 PRO and finally to valveless SS and D Class amps. I don't miss valves but if that's your sound then it's annoying when you can't use the amp.

[quote name='joeystrange' timestamp='1469231042' post='3096911'] I think they do change the sound very slightly (it's not just like turning the volume down) but it's very easy to get used to. [/quote] +1 Any ear plugs will change the sound you hear. Some make a significant and uncontrolled difference, like foam, but ACS plugs will do a great job of giving you the best balance at reduced volume. Alternatively you don't have to wear plugs at all. If hearing your glorious bass sound at more than 130 dB all night is what you want then you can deal with your hearing changing dramatically, permanently and with very bad results. Hearing aids are more expensive than plugs and significantly damaged hearing is socially isolating.

Take the flats to a rehearsal and ask the band what they think of the difference. Maybe your band just need the dynamics of rounds.

Sounds like you're not gigging much or you'd already have a backup. I'd get a D class backup, my backup is an Aguilar TH500 (from the classifieds), and get the SVT fixed.

My ACS ER15's have been with me on every gig (playing and watching) since 2006.

If you don't like joining in Blue's threads, don't.

From about 1988 to 1995 I used a Dynacord BS412 combo, with an EV 15. Only 250 watts with the extension cab but the best bass sound I'd hear on a gig for years after. Heavy as a medium sized planet and even as a fit 30 something I had to make a dolly board so I could move it around! Sadly, they don't seem to have survived in great numbers. I've never seen one on a gig, but I did see one in Charley Chandler's shop window.

[quote name='blue' timestamp='1469143979' post='3096164'] Lifeless? Cover bands must be different in the UK.[/quote] Not the good ones.

More PC f***wittery. Apparently in our own educational system they are currently discouraging the use of "brain storming" because it might offend those with epilepsy!!!

[quote name='JTUK' timestamp='1469040767' post='3095342'] Thought Vail Johnson was doing it..? obviously not. [/quote] I'm not sure why the rhythm section changed. Stan's a fantastic bassist but I was very happy listening to Vail Johnson playing with Keb Mo. [url="http://www.youtube.com/watch?v=fWSqLD6gdrI"]http://www.youtube.com/watch?v=fWSqLD6gdrI[/url]

My definition of a cover band? One that is working and earning. The general rule for our cover band is that any song we play has to have been a top 30 hit. We aim to play songs which the audience knows, likes a lot, can dance to, will sing with us and isn't played by every other cover band.

Saw this line up in London a couple of weeks ago. I've been a Keb Mo fan since the first album. Stan Sargeant came over on the last tour but didn't really stand out to me then. He was not really on my radar until now. What a great player. Check him out. [media]http://www.youtube.com/watch?v=1yx_6IwdQvY[/media]

[quote name='henrywillard' timestamp='1468996821' post='3094881'] I would be very interested to hear anyone else's thoughts & experiences, and hear if anyone has experienced anything similar. [/quote] That's management companies for you. I know of a bass player who was kicked out of a band because the manager though he looked "ugly" and a guitarist who was deemed too "fat" by management and fired. I know I've lost a gigs because I don't play double bass. I'm an old codger, locked into a comfy rut, but as a young pro I'm surprised you don't double.

[quote name='paul_5' timestamp='1468969349' post='3094846'] yeah, I'm kind of obsessed with getting the cleanest DI signal I can from any bit of kit. [/quote] The REDDI DI seems to get a lot of praise.

I'll mention this now, then. . . . when I was a kid PEN15, an S1 Bentley, used to be seen driving around the Ealing area, west London, a lot. Always caused a snigger.

Last time I looked the person who bought CHR1S paid £250,000!

Google and there are photos of CS using various basses on gigs, including Fenders.

IMO this is the wrong question. Get a great sound out of the best new amp you can find and don't worry about what you used to sound like. Trying to make one amp sound like another is bound to fail.

How small is small? The cab I bought was a Bergantino AE112. I'd check out the Berg CN112 in the classifieds. It's a fantastic cab and a great starting point for a small modular rig. I used an Aguilar TH500 and IMO it's a perfect match for the Bergs.

I used to take a big 115 when I played with an acoustic duo because that's all I had. It wasn't right. I bought a neo 112 and IMO it sounded much better and was obviously more sensible to take into small folk club gigs. That got me thinking about modular rigs. These days, even for the loudest bands, I use more smaller cabs, used to be 3 112's then a 212 and 112 now 2 Super Compacts..I don't miss the big cabs at all, for volume, tone or carrying.

We had a guitarist who listened to the video instead of the version sent around by the singer. He'd put it through a weird bit of software to change the key. There was a magnificent train wreck when the song started in 2 keys, with each side claiming they were in the right key! The Rattle and Hum version doesn't change. You're flexible, but I'd make a point of asking why they didn't know that and which version they really wanted to do. I get charts through from our cover band leader and there's always wrong chords and arrangements. Guitarists!!

A better offer came in.