JTUK

SIMS... not the cheapest but will cut the shape to order. If you can't get the bass there... then scan it for them. They don't use crappy pickguard material either... If the bass is worth it, then SIMS are worth it.

[quote name='machinehead' timestamp='1468792376' post='3093410'] What were the answers.. and the problem? Frank. [/quote] The problem was that the bassplayer EQ'd the bass and rig for him. This is fine...and one I'd go with.. until he misses the point that the sound he has gone for does not do the basic role of the bass..which is to support the band. The problems are he wants a sound that cuts through so he can hear. The problem with that is no foundation, possibly. The answer is a P-Bass as that is what that bass does... you have to try pretty hard or be clueless to stuff that up. The reason why the P-Bass is the bass of choice of so many..and is still the benchmark for the sideman after ALL these years is because Loo got it right and understood. There is no need tor re-invent the wheel Of course, it is entirely possibly to use another bass for this job but you need to understand and get what the bass needs to do..and also need to know it is doing it. You wont get any argument off a sounman or studio if you turn up with a P... If you can make your other bass do that role, then that will work...but if it doesn't... he'll be thinking and likely saying...do you have a Precision. If bands have problems with their bass player..it is because he doesn't get the sound thing. Gtrs want a bass to support THEM... so they'll have a P-Bass all day in your hands. Bass leaders just do not want a sound issue at all... so they'll be pleased with a P. I'm trying to not say... a lot of basses are too complicated for the band situation and for the bass players. I'm trying to not say the signal chain is more complicated that it should every be.. I'm trying to not say that the average bass player is not on BC -where they are all the tech heads who sort all the band sound out, but I'm not sure about that either. Cutting through the mix is the biggest myth around atm.. IMHO. That only every works if you have a reference out front backing it up... The 'problems' I've come across lately have been Bass sees a bass player he likes and copies that exact rig... doesn't know how to EQ his kit but the sound must be in there somewhere, right..? Buys the same bass..plays the same songs..? Buys a pedal board to further complicated and potentially downgrade the signal chain. Basically the player..and there are more than you'd think..IME.. totally misses what he is supposed to for the band.. It starts there and then his equipment tends to compound it. IMHO, of course.

Before the gig... as it likely to be sizable sum..and not pub money, I hope. It will do everyone favours ..them and you ..to get the money beforehand. Either the best man/groom or another sensible elected person. IMO

[quote name='Kev' timestamp='1468773219' post='3093221'] Interesting, any particular reason why? I ask as I am considering purchase a 212, or buying another 112. I am favouring the former as having two Vanderkely 112MNT's is a big investment, whereas I can get a 4ohm 212 for much less. [/quote] I think my 212 covers a gig better than my 2x112's ..but then they are different cabs in terms of dims.. The 2x112's are basically a light weight and easy carry solution. I also prefer 8ohms rather than 4 in a cab... so maybe your solution needs to be 2x112 as you get 4ohms by running both. I have owned by 4/8 of the same cab... the 8 was better, IMO. weird, I know, but I'd swao back in a heartbeat. Having said that the 212/4 is still a great cab.. I just preferred the 8..

Get more organised as your current set up is making you ill. If that doesn't help, I don't know how or why you'd carry on.

I'm a fan of Made in U.S handwired

I'm not entirely convinced by Class D but the Demeter is some way ahead of those I've tried. I would put it in the same league as Thunderfunk which is a more traditional amp. Good build Quality, U.S studio pedigree etc.

[quote name='Kevin Dean' timestamp='1468752310' post='3093045'] My choice is based on it being made in the UK & weight mainly, But once you get into a certain budget say anything above £350 per cab & £500 for the head does it really make any difference ? reliability & customer service is also a consideration I suppose . I was thinking about how many rigs Mark King has had & He always sounds like Mark King . [/quote] You might take price and quality for granted, but I don't think it is that simple. I think there are small gains to make... but it depends if the price difference is worth it to you. I think my rig is pretty much the best out there ..and the B rig is not too shabby either. You can still shaft the sound if you don't take care...but I think sound starts at the way you play and set up the bass, and then it is a question of not fighting it too much. You want to get to a position where you can use the sound you want... rather that the sound you have to have.The latter often doesn't end well as you are always chasing ..

Having said that a good 610 sounds ideal..and in wheels would be ok to move around.

If they are gunning 2 twins pretty hard I'd say that would be too much for a 210... You could try and get 2x210's.. or a beefy 212. I think the Aguilar DB212 would do a good job in that situation. As a comparison, I think a 212 would be a better sound solution that 2x112, IME... It might depend on the cab so you'd need to try a few.

[quote name='Len_derby' timestamp='1468753980' post='3093059'] Would you say this extends to 5 string too? Genuinely interested if people think that the 5 string P or P clone corners the market in a similar way. [/quote] Sound-wise, yes, I would say a P5 is a good option but the low B on a well balanced bass also covers underpinning the band which is what a P excels at... and it really doesn't (shouldn't) get complicated Plus, people don't seem to want to pay £1500 for a 5st P.

[quote name='spectoremg' timestamp='1468753728' post='3093055'] Er hang on a minute, that's a mighty sweeping statement! [/quote] On the face of it maybe... but I've lost count of the number of times when a band has mentioned how good it was to have a foundation to play on..and when I ask what their bass player is using, I'm not surprised at the answers..or the problem.

Depends why you need/want to swap round.. If a spare/backup..try and use the quietest first..

Sims, no question, but it depends if you are spending the same sort on money on the rest .. and not skimpming. If you want a great custon neck..and the rest of the bass uses very good parts, you'll probably be spending £1000 on a bitza..??

[quote name='JapanAxe' timestamp='1468709605' post='3092869'] I have just come back from playing a gig in a small band accompanying a choir. The concert programme included arrangements of pop (Simon & Garfunkel, Madonna, Lighthouse Family), classical (Mozart), opera (Carmina Burana), swing (Sinatra), and musicals (Oklahoma, West Side Story). I used one of my Precisions with the tone set at about 30%, and didn't feel the need to change any settings all night. I wasn't being lazy, it just sounded great from one song to the next so I left it. Why do I mention this? Quite often someone's question about a flexible or versatile bass is answered in terms of the range of sounds available from two or more pickups and/or onboard EQ. Tonight's experience highlighted an alternative answer. [/quote] I've said before the vast majority of bass players need a P bass because it does what most people need it to do. If I hear a bass with a weak sound..it very very often isn't a P..

[quote name='Chienmortbb' timestamp='1468103416' post='3088664'] Kev the problem is that once company starts to get name, people knock it. There is no doubt the Barefaced make great cabs. So do TKS, Vanderkley, Bergntino etc. It does seem however than in the past certain people have been a bit "noisy" about Barefaced. At one time maybe they were a one trick pony but they now cover the full spectrum for modern to vintage. The handle thread was a joke except it was not funny. [b]Now as for the design, Alex is constantly pushing the boundaries and we are all benefitting from that. You can bet your life that the big boys are pulling apart Barefaced cabs as we write to see what makes them tick.[/b] I cannot comment fully as I have no extended experience of Barefaced but I know a good trolling when I see it. I m not great fan of Ampex, Mesa or Markbass, but as the saying goes 3000 Billion flies cannot be wrong. So as long as people stick to their own reasoned opinions, that is OK. Many do not. Comparing Barefaced to TKS or Bergntino is like comparing a Porsche, to a Ferrari to a Bentley. All great cars but not all necessarily write for everyone. The point is to celebrate all of them as they all add to our sum of knowledge. [/quote] I'd very much doubt this... There was quite a slanging match on TB relatively recently... go check it out if you can interested. Might give a few pointers about general standing. And considering a lot of stories--of this type--never make into the public domain, that was quite..indiscreet..??

[quote name='chris_b' timestamp='1468626208' post='3092305'] Has no one here been fired because they didn't pull in the crowds? Blue is right. Beer sales pay the band. Dad, you've got the right ideas but in the wrong order. A cover band should entertain the audience whilst, hopefully, having fun. Education? From a cover band? Good luck with that! [/quote] Of course, beer pays the band... doesn't mean you have follow everyone else. You'll live or die on the people that turn up but you'll be likely to turn as many people off with the ' cheesy standards' than you will bring in. If you know the places you play... or the bands that play them then the LL is going to book you on your set and who is in the band. He might not insist you play such and such but I know a few who will not have you if you aren't suited to their cultivated audience. There are very popular bands in the towns around here who just can't get into certain places as there is not a lot to distinguish them from all the others...certainly set-wise. Typically, these will be 80's standard bands, as it happens.

[quote name='Norris' timestamp='1468610265' post='3092187'] And Blue - it sounds like you play to a lot of "cold" crowds in your bars. In UK it tends to be a bit more "local" and we have quite a few fans who will follow us around and make an effort to see us if we're nearby. I suppose that makes a bit of difference in our approaches to playing. A familiar crowd makes it an intimate experience, which seems not to be a feature for you as far as I can tell [/quote] Around here, a few bands can call on a lot of passing thru players... in between their better gigs, so there is a lot of seat of the pants stuff but they can pull it off. The band will be set up to do a blues type set...be pretty funky and get quite greasy. So, the song becomes a vehicle to stretch out somewhat. You do need that intimate type gig though but people find out which will do that sort of gig..and band leaders are known for throwing in a few surprises.

[quote name='blue' timestamp='1468604863' post='3092134'] You should always pick songs for the audience. You won't be able to educate the audience, that's not what they come out for and not your job. Your job is to sell alcohol and entertain. Blue [/quote] The trick is to be able to pull it off and some people are a lot more open than just the standard fayre ... If you want to do the most popular numbers because that makes you popular, then ok.. It isn't for me and it isn't what will get the players I want on the gig... They'll have their own function type gig for that. If I'm doing a gig for £60 it will be because I want to do it...and the set comes into that equation massively. Even band players want to hear and play something different.. There should be banned songs in certain venues. In fact, I recall a few that had signs up that they'd pull the power if the band played one :lol

I'll put a set together that pleases the band and suits the players. Then the task is to educate the audience but most people can get good music, well played, even if they don't actually know much about music. They know enough to like. Then you need to pick the gigs that this offering will work best in. You need a bit more thought than play anywhere and hope to pot luck, IMO...and tbh, some places you should avoid like the plague anyway

Tried them the other day... really very good, and I prefer them to the big Block

Position of the pickup on a P is KEY.

[quote name='paul_5' timestamp='1468441924' post='3091009'] I'm still gigging a 92/93 SM400. It's had a tube replaced and that's about it. In over 20 years. [/quote] Not at all surprised... Mine is a few years older and has needed one valve swap too. The only other issue I had was when it was knocked over whilst under power and the tech who repaired it said the components were top notch and he thought 'over-spec'd... It runs very hot and for it to do that...you need components that can run like that

[quote name='lowhand_mike' timestamp='1468437401' post='3090973'] never had that problem [/quote] Good to hear... but generally the issue of the bass and the type of the sound people can be a big issue. This is why the advice of boosting the mids is not always what you want.. The bass player will do it to cut through so he can hear...?? Ok.. but it can then start another problem which means the band has no foundation..and this is most prevalent when basses lack the bottom end thump..which a P is famous for. Add this inbto a 3 piece where the bass has a huge supporting role when the grt goes to solo.. If bands don't think through or get a playback of their mix in context and only mix from the stage and for the stage.. the classic mistake could be a weedy overall band sound. If people dep a lot...they hear this A LOT from those bands, IME. And the bass is supposed to be the technical sound man in the band..?? Any band leader can tell the bass is where the band mix can get screwed..

[quote name='M@23' timestamp='1468432457' post='3090917'] Me too. All 34" low B's are not equal! Even if they're made from the same materials. [/quote] I'll run them with 118-120's too.... you wouldn't be able to pick holes with the B string unless the strings have gone... and then it would not only the B that would be a problem