chris_b

Swap the pickups over.

The Mesa Boogie D800 and several of the TC amps will go to 2 ohms.

You have to be practical. If this guy's on the skids it's nothing to do with you, but if you don't replace him someone else will, so it might as well be you. I've been playing with my current covers band (through various changes) for nearly 10 years. Sometimes it's been my main band and sometimes it's been the diary filler, but if it's done properly a good cover band is worth playing in. IMO Mustang Sally is a great number if you can play it like the Wilson Pickett version (Tommy Cogbill on bass).

[quote name='RockfordStone' timestamp='1456395417' post='2988483'] his recordings are rather clinical, but his live shows are a joy to behold [/quote] Especially when Carmine Rojas is on bass.

[quote name='Sparky Mark' timestamp='1456331402' post='2987976'] I too was a lightweight cab user until I recovered my heavier weight ceramic magnetic driver Bergantino cabs from the garage and was amazed at how much deeper they sounded than any of my neo cabs (including Bergantinos). They just seem to plant themselves more solidly due the extra weight and vibrate a whole lot less. [/quote] As a general observation, the weight of a cab will not make any difference to its sound. It would help to know which cabs you're talking about.

If a cab is badly designed or made it could vibrate. If it is well designed it won't. Light cabs have internal bracing precisely to stop them vibrating. As I said in another thread a cab that vibrates is like a car with a slipping clutch. Good cabs will put their sound out through the speaker and port rather than wasting it on vibrating the cab. The cab mentioned earlier was probably moving because the sound waves were vibrating the box it was sitting on so non slip mats would work without affecting the sound of the cab.

I know, but there are plenty of blues players at the heavier end of the spectrum to provide inspiration. Free, Cream and the Jeff Beck Group were all bands that moved away from blues and in the process created Rock.

Have a listen to Beck-Ola by the Jeff Beck Group.

If you want to stand out from the crowd, be better than the rest, I'd suggest you leave Red House alone.

. . . maybe Humble Pie, Joe Walsh, Mountain and Grand Funk Railroad.

Slash? Blues? That's a new one on me! Try Joe Bonamassa, Stevie Ray Vaughan, Cream and early Robben Ford.

What does "heavy blues" mean? Loud? Authentic?

[quote name='TheGreek' timestamp='1456245922' post='2987015'] I've noticed that there have been several of these in the "For Sale" threads recently. I was wondering why they're being turn around so quickly. [/quote] How can you say they're being turned around quickly? The obvious answer is that these guys are probably buying something else. . . . maybe the Mesa D800, but there are about 5 new D Class heads around at the moment. I guess we'll see a few Bergs for sale when the HDN cabs arrive. That's what happens.

[quote name='Paul S' timestamp='1456159020' post='2986054'] And this is an Epimedium [/quote] A South African medium?

Doris Stokes was a happy medium.

[quote name='CHW' timestamp='1456144613' post='2985786'] It is a far better piece of musicianship to drop a howler, but be able to come back in, in time, and on point. [/quote] Same thing. I saw a Victor Wooten clinic where he said he made lots of mistakes. Then he said he was working up a set for a Herbie Hancock gig. I asked if Herbie minded him making mistakes. VW said Herbie wasn't bothered by mistakes, but what interested him was how you got out of them.

Everyone's talking about the routing, but I still think the deal killer to anyone wanting a vintage bass will be the missing pickups and electrics. A great playing bass guitar can be bought for a lot less than £1000. This bass is so modded that I can't see this being worth more than that.

There's a clip (can't find on Youtube) of David Bowie live on Pebble Mill, where he stops the band in the first verse and asks if they can do that again. They're miming and he thinks he's recording. It's a toe curling moment while they stand around scratching their arses with the track still playing and the floor manager is telling them they're actually live!

I quite like it when the other guys in the band say that what I do makes it easier for them to play. And they can even decide not to play and the number stays rock solid. I'm arrogant enough to think that the others can be as good as they like but it doesn't work without me.

Three more pieces of wisdom. From Victor Wooten: If you hit a bum note you're only a semi tone away from a right note. So get good at sliding. From a double bass player: If you don't know the tune, never hit the same note twice in a row. And the best one, from a woman I'd never met before, in a pub in Lincolnshire: Marry a woman with small hands.

So much for my "she will develop" arrogance. Imagining her progressing into playing music that I understand and prefer when she's already at the top of where she wants to be.

If you're not already in a gigging band. . . join one. Join one where you can incorporate what you know. Take it from there.

Really, most of the important stuff that makes this a 68 bass is missing. You can buy so much more for £2000. Seriously good basses are well within your grasp. I'd be looking for a much better bass than this one for that money. I'd also be worried about selling it. I think you'll have trouble there.

IMO the Craig Fuller years were some of the best. Those 3 albums were on a par with any that went before.

IMO the biggest problem is that the original pickups have gone. I have a 68 P bass and the original pickups have been sold. It doesn't matter that they sounded bleugh and were under powered or that the bass sounds like a million times better with Barts. . . . none of that matters. Think of a number and halve it, then take some more off, and you might be close. The value will be a lot less than you'd expect.