chris_b

How can 100 watt amp into a 1000 watt cab cause either to blow?

I was A/Bing my Lull P5 with Happy Jack's Lull P5 and his sounded better. I couldn't work out why and after a lot of emails to various people I put some Lakland flats on. That was the difference. I didn't realise what an improvement those strings could make. Flats on my Lull P5 sound fantastic and the B string is still very playable and sounds clear and well defined right down to B. I don't know your bass, but you have to try it.

Firstly, I'm surprised you're experiencing a 500 watt amp and 4 ohm 410 cab run out of steam so early. I wouldn't have expected that. Maybe you can EQ some of the the bass out and add more low mid punch to cut through. The sound of a bass can get lost in the mix if there are too many bass frequencies. The LM2 was analogue but the LM3 and LM800 are both digital. Surely if you're clipping at 12 o'clock you're trying to overcompensate by running your input signal too hot. Do you get a lot of cone movement? I've seen guys improve their sound with an SFX Thumpinator. It cuts the very low frequencies, the ones that take a lot of power from the amp to produce and then the cab can't properly reproduce.

We put a hoover in the drummers bed when he was asleep and switched it on, but that's another story. I didn't know people could leap that high from a prone position.

I was leaving some wiggle room. If there is another more influential album then I've never heard of it. Listing other influential albums is for another thread.

I always take a Precision with me when I go camping.

I don't know if I'd like to know him personally, but I like Ringo as a performer/drummer. The guys he gathers around him make a good band. I've heard more talented people make a worse noise, so good for him. What do you do and where do you go when the ride that was the Beatles finishes? At least he didn't turn into an embittered "Ginger Baker" type.

Was Manfred Man Chapter 3 ever considered a Prog Rock band? Steve York on bass and Craig Collinge on drums.

If you think, "Is it worth it?", then to you, it isn't. I have 3 used 5 string basses. The cheapest one was nearly half the price of the other 2. It's a good bass and a good buy but the other 2 are miles better in every respect. If you can't tell there is a difference between price points or that difference doesn't matter to you then the more expensive gear is not worth it. If that difference is important to you, and in my case it certainly is, then the gear is worth every penny.

All you need to do is split a matchstick in 2 lengthways and push it in the hole. The screw will hold because of the thread which is now biting into the wood. It's also more easily reversible.

There's a Funk and Groove thread which contains 54 pages of song suggestions. Also go through Stax, Etta James, Leela James, Etta Britt, Aretha Franklin, Bonnie Raitt etc YouTube videos.

You won't get close with a Jazz or even a Stingray. Louis Johnson used flatwound strings.

Most of the music I like (and a lot of the stuff I don't like) seems to have been recorded on either a Fender Precision or a Fender Jazz. From JJ Burnel to Alphonso Johnson and Dave Dee, Dozy, Beaky, Mick and Tich to Delbert McClinton. Seems to be the essence of the term Swiss Army Knife.

Great. Like they said, you've got to ready to take those few chances that drop into your lap.

A +1 for the SVT-7 PRO or an SVT-3 PRO. I used the SVT-3 PRO for nearly 10 years. Makes a great sound.

So it was you that left the big dent in the floor!

[quote name='Jazzjames' timestamp='1439112842' post='2839999'] Really? I mean, if that's the case then fair enough. [i]But I can't see how something so small can do 'any situation'.[/i] [/quote] I think [i]any situation[/i] relates to the guy making the comment. Obviously there are gigs where 2 could be used, but we've had decades of gear which, as good as some of it was, has only been doing half the job. Design a cab properly and it can be [i]that[/i] small and out perform commercial cabs of 3-4 times the size. It seems Alex gets criticism for the look of his cabs but I've never seen anyone say his cabs can't do what he claims on the web site. There are others in this market, but Alex in particular has moved the boundaries for bass cabs out of sight. It's understandable, given what we're used to, but some bass players are taking time to catch up.

[quote name='Iain' timestamp='1439118601' post='2840100'] Odd thing to say given no one on this thread seems upset to me. [/quote] It's what you say when you've been asked to explain a statement you've made. . . . which can't actually be explained, because it isn't true.

Otis Redding wrote Dock Of The Bay, a complete change in gear and direction for him, after listening to Sgt Pepper and Brian Holland used to go home after a day at Motown and listen to Beatles records for inspiration. Brian Wilson said he felt in a battle with The Beatles to produce the best music, and was feeling confident until he heard Stg Pepper. Then he knew they'd won. Liking or hating this record doesn't change anything. Sgt Pepper is in the top 3 most influential albums of any time. I saw the before and after effect so I think it's at No1.

I used 2 112 cabs for years and I wouldn't put 1 112 up against a 210 on a gig and expect it to match the performance. The only 112 I have seen take on a 210 is the Barefaced Super Compact, and 2 of those is all any gigging musician needs for volume, punch and coverage in any room. You've got to decide if you like the tone you get out of it (Alex gives you a 1 month trial period) but all other factors are gold plated. The next single small cab solution I know of is the older BF Compact. It's a 115 but not much bigger than most 12's and weighs less than most 12's. How do you choose? I've used Bergantino cabs since 2008. Aguilar, TKS, GB and GK are also great cabs but Alex's 1 month trial gives you the room to listen and analyse before you have to commit.

2 12ohm cabs looks like 6 ohms to an amp. That's fine for Puma amps.

These positives would be enough for me to enjoy a gig despite the other personalities involved. I've been in four bands with female members. One was talented and a lovely person, the other three should have been fired into outer space.

My job as a dep is always to get asked back. I have an opinion about everything in my bands (don't get me started), but when I'm depping I never get involved in band politics, personalities, arguments or issues.

Please spare me yet more internet twattery.

Good playing is a good thing, on any instrument. I'd love to play clever, intelligent and impressive solo's. Unfortunately my brain isn't wired for soloing, so I don't.