chris_b

Good sale. Chris, pleasure meeting you. Cheers Chris.

I don't know if this is an outtake or what, but at 2 mins it's 18 mins too short. The incredible Alex Al, and the funkiest bass playing on YouTube. . . . ever. [media]http://www.youtube.com/watch?v=bnVWG2wR3Is[/media]

If Fender had re badged GB or SWR amps I would have more confidence, but nicking bits of these designs (is there any evidence they actually did that?) to put in their own amps doesn't fill me with any desire to own one. My reading of the situation is that Fender didn't know what to do with the companies they bought. Several including GB came to them when they bought Kamen so it doesn't look to me like they bought GB for its technology. I owned and liked (a lot) a Markbass LM2, so with these choices I'd get an LM3 with no worries. Edit: I own a GB STL 9.2 and Aguilar TH500. Along with Markbass, that's where I'd be doing my comparisons.

Hey Nige....... Snap, I'm just listening to this. [media]http://www.youtube.com/watch?v=fuhHU_BZXSk[/media] So good.

Dunlop Super Brights sound very good on a Jazz.

All Dave's sites are working for me. He's about. You could drop him a line, he answered my PM last night.

Put some good strings on your jazz. That might give it a whole new lease of life. I'd try it with some flats for a completely different slant on your sound.

I had an Epifani 410 cab which I rate as giving me one of the best bass sounds I've had.

I haven't played my 2 pickup bass much for nearly 4 years, but I'd always keep one around, just in case. A P bass won't cover everything and this band won't last forever so I'd keep it.

+1 The problem with inexperienced or just plain selfish guitarists is that they play on their own and get a sound they like, and then think they should sound the same when they play in a band context. Two of them exhibiting the same problem in the one band would drive me to get the wire cutters out. I have the same issue when explaining to keys/piano players who insist on playing left hand bass parts. It always seems to come as a complete surprise when I tell them there is only one bass player in this band!!

Do you rehearse in a circle? IME in that format the bass player is usually standing opposite the guitarist with the amp blasting right at him. Do you have a clean sound? The RH450's natural tone is rounder and less defined. That might cause you to disappear into the mix.

If weight isn't an issue then the best cab for your TH500 is a Berg CN212. If we're sticking a little closer to the script, and it was my money, I'd go for the DB112's. Both with tweeters.

Mate is OK, but I won't take me'duck from anyone. The wife once said, "Now look here, PAL!" and I knew I was in trouble.

I saw Delbert McClinton about 25 years ago at T&C 2. That was his last gig here. I wish he'd come over for another.

About 5 years ago, I was buying an amp from someone on BC and after 2 days of sorting out price, address and time, he decided to remember that he'd previously promised it to someone else and backed out!! Now that's an example of poor attitude, poor memory, whatever. I didn't feel the need to post about it though.

At 3.5 hours, I don't see that the potential buyer was out of order.

[quote name='Conan' timestamp='1425387559' post='2706740'] That's a bit unfair [/quote] OK, the summary of my opinion is, get the right tools for the job. Get the best you can afford and practice. What's unfair about that?

Do you have send/return sockets on this amp? If you don't want to replace the whole thing I'd plug an outboard preamp into the return and bypass the preamp altogether.

I don't see the point of BEAD. Surely everyone needs to play notes on the G string? As solutions go it seems like a bodge to get around having to do the work required to play a 5 string. If you want to add a B string to your current instrument just bite the bullet and get a 5 string bass and deal with the fact that is is a different instrument and will require an amount of practice to feel comfortable.

Practice unplugged (I do that if I have to). Get an acoustic bass. Move your amp off the floor. Put it on foam or other insulation material. A 15" combo is a big lump to be playing at home. I'd go for 8" - 10" max. Get a headphone amp and sort out what ever you don't like about the one's you've tried. .... and finally, practice in a different room.

Start from I Saw Her Standing There and work forwards.

After 20 years of using 15's, these days I'd recommend well made 12's every time. The gen 2 Barefaced Compact is the only exception, IMO.

[quote name='BigRedX' timestamp='1425296800' post='2705863'] ....I don't think that anyone can categorically state that a particular type of wood will produce a particular type of sound for every given example.... [/quote] Has anyone ever said that? Not me, and I've never heard anyone in the bass making business claim that. There might be people out there spinning a line, but they're not respected builders of basses. Pieces of maple will have a similarity of sound, as will alder, as will mahogany and Brazilian rosewood and there will be variations within that signature sound, but a piece of maple will never sound like Brazilian rosewood. Most good luthiers will be hand picking and buying the better pieces of wood so these tones will be more consistent and fit the tone profile better. That will allow them to predict with a degree of certainty the overall sound of the instrument. The finished bass will have its own voice, but to a good maker that won't come as a surprise. There is a wide variety in design choices. Some choose the wood for the tone, Mike Tobias is one, and some like Alembic try to make neutral sounding basses so their sound is generated by their pickups. Large volume manufacturers will just order wood in bulk, sight unseen and use every piece which is why their instruments can be so variable in weight, tone and sustain and can suffer from dead spots and lack luster tone. These basses are very likely to need to get their sound from the pickups because they're not going to get much of it from the wood. That's fine because high volume manufacturers are selling to players who aren't interested in the smaller details of tone. But the differences are certainly there whether the general public can hear them or not, as with the differences between plonk and fine wine, Datsuns and Aston Martins, Cafe Creme and Havana cigars.... the list is endless.

+1 for playing in more bands. Always my preference. Regarding this band: Would you stay if they did more gigs? Even with the songs that you're not fond of? If that is a yes, push the more gigs angle. Then mention you'd like to do better songs. Decide what to do after thinking about the result of the meeting, in a few days.

I still own the Fender P I bought in 1969. I wore the frets out on that bass. I've only gigged it once since the mid 90's, but I'll only sell it when I'm done playing. If I hadn't moved on to 5's I'd still be playing that bass on every gig. I wouldn't order a custom bass. I don't know what I like until I hear it. My main basses for a long time have been modern takes on Fender classics. I play a Lull (1 pickup) and a Lakland (2 pickup). I have never been asked to play anything that either of those basses couldn't handle. I only have 1 main bass. The next main bass will relegate the old one to backup status. Never say never, but that's the way it's worked for the last 25 years and last 4 basses.