chris_b

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.

[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.