casapete

Know what you mean. My GK100RB is now considered weighty at 22lbs, but even for an old gimmer like me I don't find that a problem. Almost balances out nicely with my BF Compact too !! For players using public / limited forms of transport the new smaller heads must be a godsend though? Maybe not so much as lighter cabs, but every little counts....

Still an underrated singer, perhaps even better now than when she was younger.

Some interesting choices so far for a gig at a retirement home......

I quite like Springsteen's 'Santa Claus is coming to town', and ' I wish it could be Christmas every day by Wizzard. Two of the few I can stand repeated listenings of. That shuffle thing is easy to dance to when drunk... Also anything off the Phil Spector Christmas album would probably go down well for the same reason, and how about 'Fairytale of New York' by The Pogues and Kirsty McColl?

[quote name='chris_b' timestamp='1507203163' post='3383868'] I don't know about any other Fender cabs, but the current Fender Rumble 410 is (surprisingly) 8 ohms. That's good because if you want to get louder you can just add another cab, but usually 410's are 4 ohms. Your 250 watt amp will only be putting out 125 watts into 8 ohms so I reckon you 'll need to be looking at a 500watt D class amp to get what you need out of this cab, whatever it is. Most modern D class amps will go into protect mode if you plug the wrong number of cabs in. I would expect that to prevent any damage to the amp if you get it wrong. [/quote] I've generally found most 4x10's are 8 ohms, certainly slightly older ones. Newer models often offer a choice of 4 or 8, but as you point out, 8 ohm versions tend to be more useful / modular. With newer amps seeming to have more power available too, the benefit of 4 over 8 ohm cabs is getting neglible. IMO of course Years ago I bought a Peavey 4x10 because it was 4 ohms, quite unusual at the time. Borrowed an otherwise identical 8 ohm cab one night and really couldn't detect the difference TBH.

[quote name='BigRedX' timestamp='1507228121' post='3384122'] It's funny how we still post times and days when TV programmes are being broadcast when any sensible person will watch it at their leisure on whatever catch-up service is streaming it. [/quote] Probably enough old gimmers like me who still actually watch things when they first go out though? Don't think I've ever been sensible either.........

[quote name='ezbass' timestamp='1506978958' post='3382543'] Given the sad news of Tom Petty's passing, Mike Campbell springs to mind. [/quote] + 1 Was just thinking exactly the same. One of the best guitarists I've ever seen, minimal effects but great tone and feel. Always plays for the song with great catchy riffs/hooks. Genius.

[quote name='Japhet' timestamp='1506860719' post='3381539'] Robbie MacIntosh springs to mind. Fantastic player. Also David Grissom from the now defunct Storyville is a great player with a pretty unique style. [/quote] Good call, 2 great players. Saw Robbie McIntosh a few years ago in a small gig near here, and he had Pino Palladino in the band too! Think he still does gigs of his own as well as being a sideman for others.

Bobby Bandiera - has been 2nd guitarist with Bon Jovi for quite a few years now. Absolutely amazing player, first caught him when he played with Southside Johnny & the Asbury Jukes. Great feel and use of chord inversions, as well as a fab soloist and singer. Met him a few times, and a lovely fella. Bon Jovi always seem to stick him at the back, maybe as his image doesn't suit theirs? He was there all through the Sambora problems, solid as a rock. Bobby and Jon Bon Jovi go back a long way though, so nice that he finally got a regular gig with friends that presumably now pays him what he's worth.

[quote name='bazztard' timestamp='1506855558' post='3381490'] saw him with Ferry in 78,he just had a hit with "motorbikin" and wore full black leather [/quote] I saw him on that tour too. And also last Thursday in Hull with his old band Sharks, who had connections with this area. Spedding was amazing - 73 years old, Duesenberg guitar straight into his amp, sounded fantastic. One of those guitarists who seems to 'underplay' a lot and yet does the job brilliantly, coaxing a lot of sounds without seemingly using any FX at all. There were always lots of rumours about his involvement in the Sex Pistols stuff, which when you listen to it could well be founded. He was also a Womble.............

Chris Spedding - session man of many years, particularly Bryan Ferry etc.

[quote name='T-Bay' timestamp='1506852839' post='3381452'] We do the same. It seems the most common way around here in pubs still. Maybe different in the big cities? [/quote] Pub gigs around here then most bands do the same. Certainly those doing rock covers etc. As usual, mostly defined by the drum sound / level onstage. If I'm depping with one, then I always make sure I take a rig with enough level to cope with loud drummers, rather than rely on crap / non existent monitors.

[quote name='mikel' timestamp='1506678575' post='3380331'] Well said that man. Played hundreds of club and ballroom gigs in the 70s and vocals were the only thing to go through the PAs we had at the time. Played at the Rainbow Room in Newcastle, it was huge, to an audience of about 350 people. Orange amps, WEM cabs, for the whole band, and a 200 watt PA for vocals. The drummer was having to really dig in, but at one point we were asked to turn down!!!! Must admit I fail to see the reasoning behind spending a fortune on a 1000 watt head and a couple of lightweight cabs, then use them essentially as a monitor. If the volume and tone out front are being dictated by the PA why not simply use a pre amp and a monitor? And all this at a pub gig, to less than 100 people. Not taking a pop, simply my take on bass amplification. [/quote] Must admit, I wonder about this all the time. Think the reason I still prefer my own amp and cab is that it's the sound I'm used to, coming from behind me as it always has done, at a level I like, and looks like a proper stage with gear on it! Maybe stupid I know, but still think people like to see a band's gear onstage to give it that authenticity somehow? Over all this though, I just love the fact that I'm in control of my sound totally, whatever happens. Rest of my band have now moved over to IEM's, leaving me the dinosaur on bass. Am hanging in there at the moment, for how long I'm not sure!

From your sig it seems you like the Fender Rumble combos, so why not one of the 100 watt jobs? Sound great and light as a light thing. Loud enough for quietish gigs too.

Mine arrived yesterday, works fine. Will be living in my acoustic bass case.

[quote name='Happy Jack' timestamp='1506435688' post='3378710'] Cripes! Johnnie Johnson is unrecognisable ... [/quote] Incidentally, bassist with Rocking Horse was Billy Kinsley, ex- Merseybeats / Merseys , and then future founder of Liverpool Express. That's him rocking the black Thunderbird, which he used right through the L.Express days, often on TOTP in the mid to late 1970's. The Merseybeats were the first band I ever saw using reverse bodied Gibsons (Firebirds). Worked with them once in the 80's, all top blokes with some great stories.

[quote name='NewDad' timestamp='1506425571' post='3378593'] No million sales required to verify standard tuning, just an eye or two. [media]http://youtu.be/YtrOr3WKmyY[/media] (Seeing the original broadcast of this propelled me into guitaring.) [/quote] This broadcast played a massive influence on my musical direction / career too. Saw Chuck for the first time on the same tour at Doncaster Top Rank - my dad got me tickets for my 14th birthday. ( My folks dropped me and a mate off at the door whilst they went for a steak at the local Berni Inn!) Staff at the gig wouldn't let us in as it was supposed to be over 18s only. However, when they found out it was my birthday present, they let us in as long as we sat on the low balcony over the stage at the side. Blinding gig, despite 'My ding-a-ling'.... On leaving the stage after his usual 60 min set, Chuck shook my hand with a grin as he exited. Back OT, yet to see any footage of Chuck not in (roughly!) concert/standard tuning too.

Another shout out for GK. The 1001RB is a fairly simple head (OK, 4 band EQ but easy to use ), 2U, weighs only 22lbs and sounds great, even when set flat. 540 watts into 8 ohms, 720 into 4, so more volume / headroom than you will ever need too. Great USA build quality. Until recently I had two of these, and they both haven't missed a beat in over 10 years. Sold one of them as I didn't need a spare!

[quote name='bazztard' timestamp='1506134411' post='3376685'] I think I'll take the word of a successful million selling guitarist who played on a whole tour with Chuck over someone on a forum who never played with him, no offence [/quote] None taken Do you think your guitarist mate may have been referring to Chuck tuning a semitone down in his later years, rather than playing in an open tuning though? Apparently Chuck would do this and cause mayhem with the pick-up band who were trying to watch where his hands were on the guitar neck to ascertain the keys of the songs, which of course Chuck hadn't told them beforehand....

Nice one, always good to hear when companies go the extra mile. I've always found Strings Direct to be one of the better online outfits.

Chuck used standard tuning as far as I'm aware. However, he was renowned for being somewhat casual regarding accuracy. Just before walking onstage, I've seen him backstage with his Gibson 355 neck up to his ear trying to tune up, then walk on with his guitar in tune with itself, but subsequently not in concert pitch like the rest of the band. First couple of numbers were 'interesting' until he got it sorted! Never really understood why this didn't appear to overly bother him. ( There are quite a few clips on YT showing this.) All part of the Chuck legend I guess.