chris_b

I'd suggest separates. If you get a combo you're stuck with selling the bit you might like because of the bit you don't like. A good neo 212 cab or 2 112's and a 500 watt amp is a good place to start and will get you a great sound. . . . and get a trolley.

[quote name='BILL POSTERS' timestamp='1415048250' post='2596155'] ....Ideal sound to me, and I got no idea what gear he used, would be the sound Tiran Porter got on early 70s Doobies tracks like Long Train Running.... [/quote] For the Doobies gigs I saw in 1973 he was using an Ampeg SVT and 810 cab.

Chaps, Right after Jack's Pilates talk, I was standing by Dave (OBBM)'s rig, a Mesa Prodigy amp going into a CN212, and someone was playing an ACG 5 string bass. It only occurred to me later that I liked the sound of that combination. So can anyone tell me, which ACG bass was being played?

I have my 1968 P bass, bought new, under the bed. Apart from 2 gigs about 10 years ago it's been there since the mid 90's. It was never a "classic". It didn't start life as one of Leo's gems and years on the road haven't been very kind to it. Too many parts have either worn out or broken and been replaced, and it's been extensively modded to overcome some of the inadequacies of the instrument. We've been through a lot together so while there's even the remotest chance I'll play it again it'll be there waiting.

Convert the lot into a Mike Lull P bass and some cash.

Thanks to Colin and Nick for the arrangements. Twas good to meet up again.

If you're trying to bend the neck forwards, retune all the strings up 1 or 2 tones.

fEARful and Fearless cabs designed by Dave Green (Greenboy on Talkbass), and pretty much in the Barefaced ballpark of bass reproduction.

Sounds to me like you're going in the right direction with your gear. When I was younger I was a busy player and didn't worry much about the detail of my sound. Loud and bassy was good enough. Then I had a lay off and when I came back I found my playing had evolved/grown up into a "less is more" approach, and when you're playing fewer notes, the better they are, the better your playing will sound. IMO, to sound your best the bass, amp and cab must have a synergy so that all parts of the signal chain compliment each other. Each part builds on the other parts. I set the volume and do one brief EQ (usually just setting the bass control) at the start of the gig and usually never touch the controls again. After the first gig with my Lull, I asked the guitarist (a very good player) what he thought of the new bass. I was hoping he'd tell me how much better it sounded. All he said was, "It was very good but it sounded like you." It took me awhile to work out that he was paying me a compliment. Enough waffle. Always play the best gear you can, and your playing will shine through.

Nathan East and Reggie McBride. Two of the best sounding bassists playing today.

On Talkbass the CN212 and the GK MB800 get a lot of good reviews.

Harry had a TF550B for sale. I used the 550 for several years before I upgraded to the 750. It was a great sound.

I use an Aguilar TH500. They just work so well together, sound great and go as loud as you want. I also use my Thunderfunk at 2.67ohms with the 3 12 rig, CN212 and AE112.

It looks like Leo Fender recognised some inadequacies in the BBOT because, even though he was legendary for cutting costs to the point of meanness, he never used the cheaper design again. So, I'm assuming he used high mass bridges on his MM and G&L basses for very good reasons. As has been said, if the bass has "issues" and can benefit from a high mass bridge then it will. Most basses probably don't [i]need [/i]this type of "first aid". If you live your playing lives in recording studios the smallest differences will be important to you. It's not surprising that so many of us inhabiting the world of the pub gig don't care about those differences.

I'd take it to the Bass Gallery. Those are the guys making Sei basses so they should be able to do anything that Kubicki can do. Then there's Charlie Chandler in Hampton Wick.

Wez is from Bromley. A good player. I'm playing with him on Friday.

[quote name='fretmeister' timestamp='1414585771' post='2590944'] ....No doubt there is something similar.... [/quote] I thought Jeff Genzler was actually working within the Fender organisation.

That Genz was shutdown is the reason that FMIC is in trouble. The management have no idea of the business they are in. In their minds they are just selling Fender widgets and Fender is so iconic that everyone should just buy the brand, because it's Fender. I worked for IBM at a time when they couldn't respond to the competition, who were killing them with innovation and great products. They just thought the name IBM on a product should be enough when it was obvious that it wasn't. Recently both David Nordschow and Dan Lakin have been on gardening leave and, surely could have been made offers that would have brought their proven talents to Fender, to everyone's advantage. But Fender decided to get Bono on board instead!!!! That's all you need to know.

My covers band works at least 2 nights a week covering an area from Ramsgate to Reading and Luton to Brighton. We usually play each venue about 2 or 3 times a year and realistically we are not going to bring an audience to many gigs in such a large area. What we can do (should be able to do) is attract the pubs music punters with a good evening. They can dance, sing, request numbers or just listen, but here's the problem. Most music pubs don't think it's their job to put on a consistently high level of band so that punters actually want to go to the venue week in week out. Not many will remember us after 4 months, but they will remember the crap band that was dull and too loud who were on last week. It costs a lot to go out for an evening and punters don't want to go home feeling they've wasted their money. The landlords who expect the band to bring the audience and all they have to do is sell the beer are just plain lazy.

Interesting conclusion. I'd be trying to work out why [i]I[/i] didn't understand what she was saying.

The last stack I owned was a 100w Hiwatt through 2 412 cabs, in 1973. The rig I used a few years ago on some stunningly loud Led Zeppelin gigs was 650 watts of Thunderfunk going through 2 Bergantino AE210 cabs. These days big just means big.

You can't blame One Direction. It's not their fault.

20 years?!?!

[quote name='Weststarx' timestamp='1414416263' post='2589029'] ...I just dont get it!!... [/quote] So it seems. Think about something else.

The only GB amp I've heard was the 9.2 through a Barefaced BB2 and it sounded huge. It filled the room with full, fat, warm, clear, well defined bass. It's what made me buy my BB2 and now I'm saving up for GB 9.2.