chris_b

Unless it's a totally unique requirement bands won't fly with gear. And probably won't even then. Bringing your own is expensive, complicated and full of potential problems that could kill the gig. Just try getting several tons of gear through customs in some pretty flaky countries. Some international tours have a budget for bribing local officials. If you arrive with broken gear it's up to you to fix it. You might only be in that country for 18 hours. It's just not feasible or cost effective. If they are on an international tour the promoter will locally hire in the gear to the spec provided by the band. If you can drive between gigs the gear will be hired for that phase of the tour and trucked. The tour manager will be responsible for arranging that the promoter gets the right gear to the right place. Sometimes the musician will ask for something that can't be sourced and will have to come up with an alternative. Bass players are the easiest to sort out. That's why you will see Ampeg SVT's on 90% of touring stages.

I had a Thunderfunk 550 and even though I was upgrading to the 750 I still regret selling it. When I ran my 750 through 2 Barefaced Super Compacts a guy came up from the audience and told me it was the best sound he'd heard from a bass. So much for "no one notices or cares about the bass"!

We have a very good local band where the bass player uses a pick. He's a great player and makes the bass sounds right. . . . he's Tex Comer ex Ace.

No big deal at all. I understood the meaning of the word before I posted. I believe the points in my post still apply.

Dear me! Given the speculative (flimsy) reasons why many here buy stuff it's got to be a reasonable bet that some will find they are not keen on what they've just bought. Most of my gear has been bought on the bounce. We provide a very useful service, so, IMO, it's reasonable to let a new owner know that there is a queue if they decide to move the item on. Once I had an PM from a guy who said; you've just bought A but you've already got B. Do you really need both? Do want to sell one of them to me? A week later I called him back. It was a very helpful PM. I've sent many PM's to people telling them I'd be interested if they decided they wanted to sell. BC has an open and public market place. If we leave feedback it's even more public. How this has anything to do with "etiquette" beats me.

Sad news. Great band.

[quote name='Donnyboy' timestamp='1454581259' post='2970932'] a bit more complicated than flinging your gear in the car & driving to a pub [/quote] I believe for the South American leg of the Dave Gilmour tour they applied for 56 visas for Brazil. A logistical nightmare. They had guys flying in from the UK and the US and the European leg wasn't much easier.

I believe it. The going rate for a major festival head liner, such as Springsteen, The Cure etc, is between £450,000 and £500,000.

Betty Davis bass playing was shared between Larry Graham and Doug Rauch.

That's a shame. Our band supported Quo in the early 70's and standing at the side of the stage with them at full chat was to experience a force of nature. They're one of the great rock bands of all time.

It's a modular case.

[quote name='stoo' timestamp='1454410753' post='2969396'] Partly for height - the place we normally play at has a fairly cramped stage and I usually end up stood very close to my amp. Partly so I could use them as a stereo pair of PA cabs if need be (I've top hats for pole mounts in mine) But mostly - yeah, it's so I've got the right ratio of screen to speakers for my telly. [url="http://s10.photobucket.com/user/scrapperstoo/media/guitars/tv_zpsmthkhuhy.jpg.html"][/url] [/quote] Howlin Wolf at 500 watts. . . . bloody perfect.

I put all my D class amps in one of those foam filled aluminium camera type cases, from Maplins.

Adding speakers for extra volume should always be the first option, and a massive added benefit is the improvement in your tone when you have more cones working for you. That's why it makes no sense to paint yourself into a corner with small 4 ohm cabs. I used to run 1, 2 or 3 Bergantino AE112 cabs, depending on the gigs. Same tone but adjusted to the volume of the band. Then I moved to a CN212 with an additional AE112. These days I'm using 1 or 2 BF Super Compacts. I'm happy to say that 2 SC's are easily matching the volume I got with the 3 x 12 rigs. I've got 2 2ohm amps so I wouldn't rule out 3 SC's in the future.

[quote name='stevie' timestamp='1454407996' post='2969353'] So now you know why a 100 watt Marshall bass head and 2 4x12 100 watt cabinets (containing drivers with virtually no xmax) could blow your socks off in the old days. [/quote] 100watt Marshall's were originally sold with 50 watt 412 cabs. That's 12 1/2 watts per speaker!! We live in another (so much better) world these days.

The mat will stop the amp moving on top of the cab but it won't stop the vibrations shaking it about. Since I had my Mesa Boogie 400+ (16 ish valves!) I've put my amps on foam blocks. I made mine from the packing foam which used to be used in PC boxes. These stop the amp moving and protects it from being shaken to bits. The other thing I'd be concerned about is those vibrations are the cab sucking the life out of your sound. My experience is that cabs are always made to be as rigid as possible, so the vibrations don't wast your tone. I don't understand why your cab is vibrating as much as it is.

Epifani cabs have a lot of low end, at least the 410 did. I improved my sound by moving up to Bergantino cabs. Have a look at the CN210 and CN212 cabs. I'd also checkout Barefaced cabs. You'll cut right through the mix with one of those.

Nice one. Thanks for posting.

If you are playing so loud you can get by with the midget you have no hope of breaking the BB.

Speed and being "fast" is about technique. The thinner neck is easier to play so you don't have to move or stretch your fingers as much so it "feels" better. In the end the Musicman will feel just as fast.

[quote name='Roland Rock' timestamp='1454241741' post='2967734'] Who posted that? Can't see it [/quote] In this [url="http://www.recordingmag.com/resources/resourceDetail/134.html"]http://www.recording...Detail/134.html[/url]

If you think a 5 string bass can't be recorded successfully or well, you'd better tell Nathan East. Or maybe you should get a better engineer. In terms of quality of sound both Duck Dunn and James Jamerson's sound when recording was terrible. If that matters it's only to a small number of engineers who care more about sound than they do about playing.

Just bought an amp off Greg. Very good sale. Many Thanks

A TH500 is a great amp, I've used mine for 2 years and it fits in really well with my Precision and Stax style bass thumping. The TH350 is just as good in a smaller package. Based on the tracks you keep posting I'd imagine you would do better with a more modern sounding amp, a Genz STL or maybe GK?

[quote name='neepheid' timestamp='1454159808' post='2967048'] Clearly your tuners are 1:1 ratio [/quote] I don't think I wrote that right. . . I meant 2 or 3 winds of string around the peg.