chris_b

I've got cases for my basses, but only use gig bags for gigging them. The cases are to protect them from the likes of DHL when they've been sold.

My TH500 is nearly 10 years old and the AG700 about 6 years old.

In my experience, D class and SS amps are more reliable than valve amps. Since I started playing bass I've had 3 valve amps fail, one in the studio and 2 on stage. My SS amps (since the late 80's) and D class amps (since the early 2000's) have 100% reliability. I take 2 D class amps to every gig. While one is nominally a "backup" I check them both out on the sound check and use the one I prefer.

Pino and David LaBruyere on the video.

I know a guy using an LM800, because he wants a 500 watt amp into his Super Compact at 8 ohm.

There's a guy who films all the bands at a club we play. He uses professional gear and turns out a pretty good video. He also give the bands approval, which is unique. Unfortunately he always sets up in front of the guitarist which means the bass is always in the background. I also know a band who had a "melt down" on stage and had to ask anyone filming not to put it on the internet! I barely get through a song without doing something I'd rather forget, let alone a whole night, so I'm ambivalent about these videos. On the other hand, they show you what the audience sees and hears, so they can be a useful learning tool.

Spinal Tap. How many basses? Dumpstaphunk, 2 basses and funky as flip. . . .

My LM2 was a great sounding amp, and then I bought my Thunderfunk, which sounded even better!! If you find a good one, buy it. It doesn't have to do many gigs before it's paid for itself.

Like the Blues Brothers 2000, it won't be as good as the original, but it'll be fun.

How about firing off an email to Barefaced?

What's the best feeling in the world? Playing great gear, in a great band, with great players to a great audience. Oh, and getting paid for having so much fun.

The house band at Fame Studios went down the road and set up the Muscle Shoals Studio. That did pretty well for them.

The Tremolos

Funnily enough, all three of my basses are burst, tort and rosewood. Not by intention, it was a happy accident, but one I'm thinking of continuing. I think us burst and tort players are in the minority these days!

Traditionally the bass is the bridge between the rhythm and the chords. There's nothing wrong with that. Tradition is a good thing, but bass doesn't always have to be pigeon holed. If you're any good you make your own boxes and if you are even better you make boxes irrelevant. It's all up to the player.

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Ah OK. I had a Two10S and a One10 for awhile. I thought it was a great small footprint rig. Nice sound, enough volume and easy to move around. A couple of years ago I decided to stick with the 12's and sold my Two10's. I still have 2 One10's and was thinking about getting another and resurrecting the idea of the 310. Two of my amps can manage 2.67 ohms, so I might give it a go.

I don't often get FOH but when I do the sound engineer has usually been very good. I can only remember one who wasn't, and he was at a local festival. And I've never had a problem with monitoring or the sound on stage.

More Mooney. Can't get enough of this guy. . . . https://www.youtube.com/watch?v=zcKGI9KQf6I https://www.youtube.com/watch?v=sPZNkZitX9w

Keb Mo is not limited to one genre. His music covers a wide range of styles. Me and the wife have been to see him at least half a dozen times. I envy you, he's not coming to the UK this trip!!!

John Mooney

"The audience are not coming to hear your bass, they're coming to hear you." Everything in one sentence.

Asked who? I've heard that Barefaced are of the opinion that the 12" and 10" do not mix well.

I think it's aimed at anyone who hasn't worked out how to get the best bass sound. IMO there are a lot of those around at all ages and levels of playing. The simplest things are always the most effective. Good advice to everyone.