chris_b

I've heard an RH750 played through 2 Super Compacts on a gig and it was a fantastic, huge sound. If Alex recommend 2 BB2's as a replacement I'd believe him. He usually gives good advice when it comes to the sound people want and his cabs. Did he say anything about the Retro 210's? They might also sound pretty good.

I'm listening.

Eh? Surely this is basic market forces at work? If you [i]have [/i]to sell or buy then you're not in as strong a position as if you will sell or buy but don't [i]need[/i] to at this time. Hence, in either case if you can wait you'll get a better price. But my basic point is when a buyer sees a price dropping he will wait for it to reach rock bottom, and in most cases that's not going to be good for the seller. That's text book deflation and in many cases that seems to be happening in the classifieds at the moment.

[quote name='Conan' timestamp='1422629917' post='2674864'] ....The desire for a quick sale is not a weakness!.... [/quote] It is if you're a buyer who's willing to hold out until the price drops even further.

The fact that you've dropped out shouldn't mean you're doing nothing. You're focus should be that you're still "playing" the number even though you're not actually playing your instrument. There are a lot of numbers where the bass drops out or comes in later for dramatic effect, Whole Of The Moon, Won't Get Fooled Again, Valerie, Jive Talking, Get Lucky etc.

My advice is decide the price that is right for the instrument, right for the market and right for you. . . . then bloody well stick to it! So you get no nibbles in the first week, just sit tight. As soon as you start dropping your price you've killed the sale. People will sense a [i]need to sell[/i] as a weakness and try to turn it to their advantage. Anyone with any sense will just sit back and see how far you'll go, then step in when you start complaining that this is your last price drop.

[indent=1]A lot of huffing and puffing.... this happens. That's it.[/indent] [indent=1]Most places don't bother, but if the venue thinks this is going to protect their profits then they'll make these rules. There were 2 gigs in Brentford, W London, less than a mile apart and (the better) one wouldn't book any band that played in the other. They are the promoter so it's their rules and your choice.[/indent] [indent=1]If you do Am Dram then you'll know all about being prevented from putting on a play that is planned for or currently in the West End or on a national tour.[/indent]

[quote name='BigBeatNut' timestamp='1396259976' post='2411397'] .....the drummer had nothing but praise for GPJ's drummer (Terrence something ?).... [/quote] That'll be the amazing Terence Higgins. [media]http://www.youtube.com/watch?v=7i0Y4NSqEhY[/media]

But it's a great number! I'll grant you, it's very overplayed and mostly played very badly (and usually the wrong riff) by average guitarists and drummers who don't understand how to groove rather than thrash. It's such an easy number to get right that it's disappointing to see so many bands get it wrong. The point for the bass isn't to fill up the gaps, but to leave it alone. The number's about groove, big dynamics and a good sing along. Just play it properly and all the pieces fall into place.

+1 The guitarist in a band I was in did a dep as a bass player. On our next gig he said how tough he found playing bass. "On guitar or singing you can have a break every now and then, but on bass you've got to keep playing all the time! I was knackered by the end of the night!" I got a lot more consideration after that.

[quote name='blue' timestamp='1422496364' post='2673492'] ....Still a "Kick Ass" bass.... [/quote] Yes, the positive points were a very narrow neck and great action to learn on, it hardly weighed anything (could have blown away in the wind), was very loud acoustically with a good tone which was fortunate as I didn't own an amp for the first year. It later paired up well with my Vox Foundation.

My Framus Star bass. The plastic on the original tuners had already broken off and these were the only replacements i could find. Shortly after this photo the pots began to fail. The bass ended up with the pickup being wired directly to the jack socket. I thought I'd removed the frets later but they look like they're gone in this picture. The strings were a set of Burns black nylon covered flatwounds. [url="http://s293.photobucket.com/user/chris_b_photo/media/CopyofFSBme2.jpg.html"][/url]

My AE210 handles only became an issue when I was loading in and out on a boat and the tide was out so the gang plank looked more like a ladder. That was definitely a 2 man lift. But not a big deal and it wouldn't stop me buying a great sounding cab.

[quote name='blue' timestamp='1422421651' post='2672408'] ....If you feel your job is to fire up the rhythm section, your concerned about what the audience notices.... [/quote] I'm concerned with all aspects of the band especially how they relate to audiences and promoters, but I said "main" concern. I've seen bands with great front lines die a death because the rhythm sections weren't good enough. I don't agree with "...the audience can't hear the bass, so it doesn't matter what the bass plays...." type remarks, because the band will always hear the bass and they will play better or worse depending on the job the bass player does. They are the ones I try to support and inspire to greater heights so the audiences love "the band".

[quote name='JTUK' timestamp='1422440764' post='2672567'] ...personally I avoid open strings..... [/quote] Me too. On a 5 string bass there are always other choices. I love watching keyboard players squirm playing numbers in C# and even F#. My first 2 bands were Soul/Funk/Blues bands with 3 and 4 piece brass sections, so all keys are the same to me.

Check out Ed Friedland, the bass whisperer, on YouTube. He does sensible and relevant product demos and reviews.

[quote name='joeghee' timestamp='1422403447' post='2672366'] ....I do think that the side handles are mounted upside down. When mounted like this, there is not enough space for the wrist if it's carried by two people.... [/quote] I had trouble with my Bergantino AE210 cabs because they had the same handles. When cabs are this light it seems a design assumption is made that only one person will be carrying them and that isn't always the case. Apart from that these are cracking cabs. I'm waiting for the review after your first gig.

Anyone in Kingston on Sunday 8th Feb can see LC and Ian Thomas at Jazz at Boaters Inn. Then Phil Mulford is there on the 22nd.

I've never understood this "sympathetic resonance" thing as a need for separate bridge pieces. If you're muting the strings correctly how can that happen?

I have a different take on this. The band is playing for the audience, I'm playing for the band. What the audience notices isn't my main concern. My job is to fire up the rhythm section and drive the front line, with the aim that we can impress the audience. I know audiences hear me loud and clear because they tell me but I have to make it work for the band. Root notes or not, the band has to like what I play. A pat on the back from them means good job done.

Alembic discovered that if you added mass to the head of a bass, in the form of a brass plate, sustain improved so why wouldn't extra mass on the bridge work equally well? A major aspect of making good cabs is how you control the resonating surfaces to eliminate as much unwanted vibration as possible, so why wouldn't you want to manage and improve the vibration generated to improve the sustain and tone on a bass? People give Leo Fender mythical qualities with regard to designing guitars, especially basses, but when his team designed instruments they improved everything over time. In the context of this topic it's interesting to see that after his stint at Fender he never put a low mass bridge on a bass again. That's good enough for me.

[quote name='stingrayPete1977' timestamp='1422201641' post='2669784'] ....I've always been hunting for my old Peavey TNT-150 black widow combo..... [/quote] For nearly 15 years I remembered my Dynacord combo as being the best amp I ever owned, until I played one a couple of years ago. It was very good but I think my Bergantino's are better. I always move forwards with my gear. The next one has better than the last, or I wouldn't be buying it. I don't do 90 degree turns, so the latest rig is always the best I've owned. Currently Mike Lull PJ 5 ~ Aguilar TH500 ~ Bergantino CN212. I also gig with Lakland, Thunderfunk, Berg AE112 and Barefaced BB2. All excellent pieces of equipment.

I would have thought that to be financially viable this amp would have to work as any other amp does, with any cab, but if the filter feature is any indication, it also has to be of specific interest to Bergantino cab owners.

[quote name='Rick's Fine '52' timestamp='1422193823' post='2669654'] ....[color=#666666][size=4][font=arial,helvetica,sans-serif]So, get your papers, say its for personal use, and it should be ok.... although it may be a concern for some.....[/font][/size][/color] [/quote] If only it were that simple. A quote from the following article: [i]First, your item is exempt if you acquired it before CITES listed it. Second, CITES will exempt “specimens that are personal or household effects,” so long as you didn’t acquire the items outside of your home country. This exception, however, does not apply to Appendix I species, which, as we’ll see, loom large in the world of vintage guitars.[/i] Brazilian rosewood is in Appendix 1 [url="http://www.fretboardjournal.com/features/magazine/guitar-lover%E2%80%99s-guide-cites-conservation-treaty"]http://www.fretboard...ervation-treaty[/url]

My first 5 string was an SR5. It was a good instrument and I liked it a lot but following on from 25 years of playing a Fender Precision, I never [i]loved[/i] it. I moved on to a Wal then a Lakland. That's when I decided that humbuckers weren't for me and I preferred wider string spacing and the 35" scale.