chris_b

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.

[quote name='ras52' timestamp='1438769404' post='2837003'] [size=4][color=#3F3F3F][font=Oxygen, sans-serif]So you're being asked to agree to contracts whose terms you haven't seen... surely that would never stand up in court? [/font][/color][/size] [/quote] How much are you going to spend to find out? The Beatles and Rolling Stones were unable to get out for their Alan Klein contracts, so don't assume questionable terms invalidate anything.

[quote name='kodiakblair' timestamp='1438759905' post='2836897'] Suppose these are standard TV conditions. [/quote] Never sign away any rights on a guess or supposition!That is a supid hing to do. Only sign a contract when you know [u]exactly[/u] what it all means.

That's a "Simon Cowell" contract. This is a fishing exercise, and why they only want unsigned bands. They will own your music whether it is used by them or not, and they will probably take a percentage of your musical earnings whether that work is generated by them or not. You have to understand exactly what you are being asked to sign away. I wouldn't touch one of these contracts in a million years. Be very careful.

I wonder if this involves signing any "Simon Cowell" type contracts?

I don't know the signal path, so while I would expect the passive tone to not be affected by the bypassed active stage, it might be. I'd ask Maruczszyk the question.

You can slap narrow spacings as Gerald Veasley does, or play wide spacings as Esperanza Spalding does with her small hands. A good technique and practice should overcome any spacing issues. I prefer 18mm-20mm but I also need consistency, so whichever you choose, I would always keep to the same spacings on all instruments.

So, 60 posts and 59 suggestions. If we are correct and that many different instruments will work then, your style, ability, note choice and how you EQ will make your performance fit and not the instrument you choose.

In my first pro band (based in Brussels) we used Davoli amps and cabs. An Italian version of Marshall I believe. They did the job. Don't remember much about them.

I think the mk3 has a different power design to the Mk2. . . . but on my Mk 2 I had all the tones controls at 12 o'clock and the filters off. Made a wonderful sound.

A Lakland was the bass that covered that amount of territory for me, but I never set out to copy the sound of a record only to get the feel. These days I'm playing many of those styles on a P bass, so really any bass can do the job, if you play it right.

I'd add US Laklands.

So everything was OK, you had work done on the house and now everything is not OK. The last change is always the point where you start the investigation. I'd get an independent earth/bond check done. Fix the problem not the symptoms.

Bartolini pickups are used in many boutique basses and I put their preamp and pickups in my PJ. I love the sound of Barts, but I have some fantastic sounding Seymore Duncan pickups in my passive Lull. Whatever you choose I'd leave it passive. You can always add a preamp later.

Great drummer. Thanks for posting. The Steve Gadd Band is at Ronnies in November. Jimmy Johnson on bass.

[quote name='Wolverinebass' timestamp='1438357808' post='2833919'] I just find it irritating that DI's differ so much from the output because cabs are hyped in certain areas. [/quote] Sounds like you'd be better off with a mic on the cab.

Alex, I don't disagree but I'm not sure I said anything that controversial. As the discussion was about "flat" I was wondering what you end up with in a perfectly "flat" system. Can't "accurate" exist in a "non-flat" system? How is your sound in the back room of a pub going to be replicated when you play at Wembely Stadium the next night? IME a DI is about handing your sound to someone who can make that sound a better fit in a different environment, ie a studio or through a FOH. IME "flat" is pasta without any salt. Players are "colouring" their sound at every stage of the signal chain. My point was where should "flat" start in the chain and where would their sound ideally be created? I look at my rig as a jig-saw with the sound being created at every stage of the chain, by every stage working with the others to get the final sound. If the sound of a cab isn't giving you the sound you want then get one that does. On the other hand a "flat" cab might very well be the one you want.

I'd agree with JTUK. I don't see the advantage of "flat" in the bass world. The concept of "flat" just seems like a starting point to me. Then you add [i]your[/i] sound. Are there any "flat" basses out there? My fingers certainly don't do "flat". So starting with a non flat amp and cab seems like a no brainer, as long as their sound is heading in the direction you wanted to go in the first place.

To many people music used to be special because they had to go out of their way to find it. An audience had to make an effort. Rock started and flourished because your parents didn't approve. I've taken my kids to gigs and my son has taken me to some. I went to festivals but my parents never did. This year my 65 year old next door neighbour and his son went off to Glasto. I'm pretty sure no one imagined Rock would ever turn into a family event. Punk was subversive for about 5 mins but since then music has just been a commodity. These days the entertainment machine has turned music into audio wallpaper. Everything is available to every one all the time and nothing is special any more. Rock was breaking down barriers from day one. What does it do when there are no more barriers? I guess that's what we've got.

Talking about guitars. . . I think George Harrison just wanted to be Carl Perkins. I see GH as more as a song writer not really up there as a guitarist, although he later developed a very unique style. The Dave Clark 5 and Hermans Hermits were bigger in the US than the Beatles for a brief period. But quality won out in the end. The Beatles would have disappeared if it wasn't for other bands? You're having a laugh! The other bands were bands. The Beatles were a cultural phenomenon, as well as being the best of the bunch by a country mile. Where are the other bands of that era? Who fundamentally changed popular culture, music, song writing and recording? It wasn't the Hollies, Animals, Kinks or Gerry and the Pacemakers.