chris_b

The science isn't one thing. What we hear is the sum of various decisions and design goals that have taken many scientific elements and combined them into a product.

[quote name='largo' timestamp='1430731345' post='2764005'] If someone else from the band won't help, then you're in the wrong band! [/quote] No, you're in a band with older guys. IME, the older your band mates get the less they are inclined to lift your heavy stuff. I'll help with the PA and some of the drums, but I refuse to lift either of the Fender combos. They weigh a ton and have the usual 1 handle.

+1 for 2 Compacts.

There's only 1 speaker so I guess it's good either way.

Yep. Sooner or later you get to a place where you have to start thinking more about your playing because the gear side of things is done.

My friend "pounced" in a hotel foyer in New Orleans. BB was clearly late and in a hurry, but stopped everything to pose for the photo and have a brief chat. By all accounts he is one of the good guys. I have seen BB at the Hammersmith Odeon and Albert Hall dozens of times throughout the years. Always a great show. It is very sad news that his health is finally failing.

[quote name='scalpy' timestamp='1430642869' post='2763213'] The silly thing is, if we were cooks/chefs the interaction of the ingredients wouldn't be a pretentious subject at all! [/quote] +1 This is a recognised playing technique in many styles of music so it isn't "pretentious" to discuss at all. As most of us have proved in the last 40+ posts.

Its called "talking to you". They say you've passed an interview within 10 seconds of walking through the door. It's the same with me and bass gear. I don't know what the process is, but as soon as I pick up a bass I know if it's "talking" or not. After that it still has to pass a lot of tests, like the tone, the look and the price, but the feel of the thing always comes first. As I've said before, I don't do GAS or collections, I only buy basses to be played and they have to be better than what I already have so my gear just evolves and improves.

How can you like reading about pro players gear choices and then call them pretentious when they describe their playing styles? On the beat (the standard approach), before the beat (aggressive/pushy), behind the beat (laid back groovy). Believe it or don't but those are [i]all [/i]valid ways of playing.

[quote name='xgsjx' timestamp='1430572695' post='2762744'] As for point 2, that could only be possible if one of the drivers were low passed. [/quote] Which is the case in the Retro Two10.

[quote name='Meypelnek' timestamp='1430548619' post='2762439'] I assume it's more about the groove and tight playing that gets people to dance then the authenticity of the bass sound in a cover band. [/quote] +1 If you're playing any style of music to an audience, that's all it's about.

[quote name='Truckstop' timestamp='1430564791' post='2762636'] Always amazed when people say that a single 15 or a 2x10 isn't enough. Even with good quality ones! How loud do people play?! [/quote] I used to use a Mesa Boogie 115 EV. That worked on its own, but yes, it's all too loud, and I'm always complaining to the 2 guitarists in the band. Surprisingly, most of the gigs seem OK with the volume, so what do I know? To prove I'm not a complete wimp, now even the drummer is mentioning the volume as a problem. I never push my gear so if I need a 210 I'll always use 2 210's. For the last 5 years my usual rig has been 2 112's or a 212 with a good 500 watt amp. I also do a lot of work with Blues/Rock guitarists in "power" trios and I need to make even more noise with those guys, which is why I use 3 12's and my 800watt Thunderfunk. I would always use a bigger rig than I need. IMO that gets me a much better sound at all volume levels.

[quote name='Beer of the Bass' timestamp='1430560663' post='2762565'] I've got Sadowsky flats at the moment which are much softer feeling than Chromes in the same gauge, though I haven't had a set of standard LaBellas to compare to. [/quote] I've had a set of Lakland flats on my PJ5 for about 3 years. I have no reference points, the last set of flats I used was in 1970, but these strings feel and sound just right IMO. If anyone has used Lakland flats and another set which they feel [u][i]sounds[/i][/u] better please let me know. I thought these might be the last strings I ever bought, but if there is a better set out there I'd like to know about them. Thanks.

What is your other rig? What is the need driving you to want to buy these cabs? Personally, I wouldn't buy either of these cabs. I used to own an 8 ohm 210 but I ran 2 together, for my louder gigs. A modular 410 is the better way to go IMO.

I don't know about shafted. . . . he split the royalties for Stand By Me 50/50 with the publishing company, then split his 50% with one of the Lieber/Stoller guys (can't remember which one) for coming up with an arrangement (he [i]was[/i] ripped off here, because arrangers usually got fees not royalties), then he split his 25% with a foundation to help disadvantaged black kids. It says a lot for the sales and plays of Stand By Me that he managed to live pretty well on his "share" of the royalties. As always, sad news. Ben E King was one of the first gigs I went to. He was playing a club in a scout hut in Cowley, near Uxbridge, backed by Tony Knight's Chessmen. What a great night.

Surely this isn't a string problem. If your right hand cramps up holding the pick, it's a strap problem. Raise the bass until you've got a better angle for the pick. Job done.

To much choice is a bad thing, as I found out when I was in the duty free trying to decide between very large bottles of Gin or Tequila and almost missed my flight. If you discount pedals, the many tones of JJ Burnel, James Jamerson, Pino, John McVie or any other top bass player makes a very short list. My take on basses is get the best sounding one you can afford and be happy that you sound good. The people who matter [u]will[/u] notice. PS If you sound good and you play well, everyone will be happy you sound like you.

I haven't done a gig in the last 20 years where a 210 would be enough. Playing with a drummer, the smallest rig I'd carry is 2 112 cabs. PS Barefaced cabs would be the only 1 cab solution that I would try. The Retro 210, BB2 and SC might suit you, also one of the original 15" Compacts.-

You can't let this opportunity slip through your fingers. McCartney on a bad day is better than most other bands.

Sad news, but Louie Louie. . . . what a great record.

If a promoter offers you a gig with a share of the bar take. . . . know it won't include credit card sales, which could be a large part of the night's sales.

Are there music shops in Glasgow? Make it a day out. Go to the next Bass Bash, run by ACG and over to east of you. There are other BCers in Ayrshire see where they are gigging. Go and check them out. I think you could be over thinking this. In reality if you're playing at home anything will sound OK, but if you're intending to gig you'll need to go down the larger and expandable gear route. I'd get a modular rig that you can use at home and in a band. I wouldn't get a combo because you're potentially at the start of an upgrade path and IMO separates are the best way to go if you're upgrading. Something like a Hartke LH500 from the BC classifieds would be a good start. Add a 112 or a 210. When you want to gig get another 112 or 210. I wouldn't discount Markbass. I thought mine was warm, with a vintage tone, but there are a couple of Barefaced cabs in the classifieds. They are a great 1 cab solution.

I used EVM 15's for about 20 years in Dynacord and Mesa Boogie rigs. What a great sound. In the end the Road Ready MB 115 and 210 really did break this camel's back! I only switched away from EV when they said they wouldn't be making any light weight cabs.

[quote name='bluejay' timestamp='1428921164' post='2745874'] First semi-acoustic gig at The Rocket, Acton . . . . [/quote] I remember the Rocket!! The last place in the local area where you could get a light and bitter and 5 Woodbines for a half crown. The only music around then was a very out of tune Danny Boy by the crossing at about 11.30. Good days.

[quote name='Woodinblack' timestamp='1430091110' post='2757945'] The guys in the band cant tell the difference, the people in the audience sure as hell won't notice. [/quote] If you stopped playing in the middle of a number everyone in the room should wonder what just happened. If they don't you're doing something wrong. People in the audience know when the band's sounding good and the band is sounding good because you are, so don't think your sh*t goes unnoticed. Get the best sound you can. And use it a lot. Like Jack Bruce told Clapton; I'm here to make you sound good.