Lozz196

Yeah, I watched the tv prog about that, looks like the whole band, but particularly John Lydon had a ball doing that. From the footage shown I`d say they enjoyed playing to the kids and having a cake-fight in the afternoon much more than playing to the adults in the evening.

I never really thought that much of Status Quo, neither liked nor disliked, but when my mate told me how they put on a good day out for sick kids - his 15 year old niece had cancer, thankfully fought it and won - and mostly away from the cameras, my opinion of them went to the like/admire side. Apparently they spent the whole day with the kids, really treating them, and from what I`ve been told it wasn`t a grin & bear it, they wanted to be there and were glad to be.

If you go from an ok rated efficiency 500 watt 8ohm cab, say 98dB, to a good efficiency rated 800 watt 4ohm cab, 103dB for example you will get slightly more volume, and given the efficiency of the cab it hopefully should better represent the sound being - usually - a better cab anyway. But really, on the much larger stages, it`s speaker cones that have the advantage. Think of a vodka & tonic, equal parts vodka & tonic you taste the vodka pretty well. Now have that same amount of vodka matched with 10 times the amount of tonic, suddenly you don`t taste the vodka as much. Probably a pony way of explaining it, but that`s how my ears have found it over the years, big stage = more speaker cones (or better on-stage monitoring of course).

Well it may be worth considering a K-Series 410 & 210, if within budget. Each cab will get the same amount of power which in theory can be a bad thing, but I`ve done this with a good few makes now (Ampeg, Marshall, currently with Ashdown) and it`s worked very well. The addition of that extra two 10s going is very nice, as as well as getting full power from your amp - unlikely you`ll ever need that tho, I would have thought - you are adding another 50% of coneage, plus raising it higher so you hear yourself better. And then for rehearsals you only need to take the 410 along, so it makes life a little easier not having to lug two cabs about all the time. I`ve found in larger venues that the more speaker cones plus the higher up they`ve been the easier it`s been to hear the bass well.

Same here, I decided I really should learn how to play fingerstyle a few years back, and it came in handy as my then band did a set where we played all our songs in a jazz-style, with playing fingerstyle suiting it much better than with a pick. For reference I use the Dunlop Tortex Triangles - 1.14mm. They`re big, and essentially 2 picks in one due to the triangular shape, which makes things a lot better if it slips whilst playing. Like many I`ve never dropped a pick.

That was the first version of the song that I heard. I usually find that I prefer the original versions of most songs but have to admit WASP really nailed it.

Sounds like an iffy control on the amp to me - yes the BF410 is a very efficient cab, but having put a GK1001 into one, I still needed the volume on around 4 or 5 on that amp, which isn`t exactly quiet.

Yep, welcome Loz, from Lozz

Bruce Foxton, from The Jam used one for a long time, so they`re not just rock sounding amps. He got a really nice focused/bite with his, linked to the VBC cabs. Prob why I`ve wanted one for so long, was so impressed with the sound from his Precision/VBA set-up.

I`ve wanted one of these for ages, used to have the VBC412 cab which was amazingly good. But then I played with a band last year who had one, and it took two guys to lift it on top of the stack (cab on top of flightcase). At that point my desire waned.

Sold a Mono Vertigo to Kostas. Great comms throughout, swift payment, advised when it was delivered, all that`s good in a transaction. Cheers Kostas.

It might be that the best addition could be another of the 102P cabs - adding in the exact cab again really fills the sound out. Unless you really only want one cab that is. Other than that then getting an LMIII could be an option, seeing as that`s the amp that drew you to Markbass gear. Given it`s a higher range it`s likely there`s a bit more to the sound. Re the "cheapness" I think I might know what you mean, the Markbass sound is very sterile sounding on its own, but in the mix it really works. Have you stood some 20 feet in front of your rig when the band is playing - that might be an opinion changer too.

Update to my first post, have just remembered that at the end of 2016 our singer/guitarist had a heart op, so wasn`t allowed to carry anything significantly heavier than a bag of shopping for a couple of months, so we covered this for a couple of months for him.

My thoughts are the Leeds pedal - having used Cosmos one it really nails that tone, especially when someone who knows JEs basslines plays through it - Cosmo, not me, I should add.

Agree, this pedal looks very nice, would just like to read up a bit more on it, but am hoping that the eq and Chunk feature can bring in enough hi-mid harmonics for me. This really could be that all in one pedal that I covet so badly.

Well when he was sober enough to remember where the solos were - after the 2nd chorus in every song, so you wouldn`t think it would be that challenging - which wasn`t often, he could really play, probably one of the best soloists on guitar I`ve heard, really individual style.

I think he might have, but he didn`t have leads or anything else, even his guitar turned out to not fit the sound of the band so I provided that as well after a while.

If something happened to one of the guys in our band the other two would cover it. Might be a bit of a pain but the band is more important and I`d doubt it would be deliberate so do what`s necessary. I do remember however in an old band the decision being made to take on a guitarist who had neither guitar amp, guitar speaker cab, or means of transport. Guess who ended up providing all of that, muggins-me. Never again.

All my gear is kept in my spare room, with my gigging basses kept in their cases. I have a home-use bass and a small practice amp for widdling away the hours, also in the spare room.

Annoyingly I kind of missed out on much of the Brit Pop, i was more in serious drinker mode back then. I look back and kick myself that in my late 20s I missed so much exciting guitar led music. Sure I`d watch them on top of The Pops, TFI etc, but never thought of going to the gigs or buying the CDs.

That ecosystem was probably intrinsic to your sound Bob, I think that bass is destined to be skipped..................

Our old producer did the sound for Oasis on their far-east tour, and he said that they really were more like a street gang than a band. He didn`t seem to be of the opinion that they were trying/acting in any way, that was just how they were.

Yep, it sounds like he knows the exact tone he wants to FOH/audience, and doesn`t want that changed by eq changes as a result of boomy stages/cabs that colour the sound etc. Sensible move imo, that way you can twiddle around with whatever to suit on stage without it affecting what the audience get. In the shared cabs world there are so many different scenarios, Markbass = high end roll off, Trace Elliot = hi mid boost, Ashdown ABM = added low end. Adjust your DI`d eq for what the cab is bringing in and the audience doesn`t get what you want them to, the tone/sound that you and your band have worked with together to get the band sounding as good as you can. Unless you go Pre-EQ of course, and doing that then destroys the tone/sound that you and your band have worked with together to get the band sounding as good as you can. Unless the tone/sound you have is your bass completely flat, in that case it would work perfectly.

We do our own mini-tours, and so far gig-fees and merch sales have covered the whole costs. Sure, we don`t come back with much to show for it, but how many people get their hobby to pay for them to visit other countries and see places of interest. I feel extremely lucky to be in that position, on our first tour I visited Colditz Castle, a place I`ve read so much about, and aside from the entry fee of 6 Euros, it was the band/my hobby that paid for me to get there.