The fasting showman

[quote name='RhysP' timestamp='1418858006' post='2634264'] It was all done in professional studios using high quality, often analogue, equipment by people who knew what they were doing, not knocked up by some herbert with a music "degree" from his local "University" (technical college as was) on a laptop in his bedroom..... [/quote] Spot on. I think FM / Digital synths have had a bad impact too in some ways, I love to hear how a Prophet 5 or a minimoog can blend against a band and not obliterate their surrounding instruments. Martin

This thread has reminded me of a late '80s classic-Dismasters; Small time hustlers Martin

Definitely mate. I can seem a decent player only when I'm playing with a good drummer. One of the bands in has a drummer that plays things differently every rehearsal, nightmare. Guess my situation is similar, thankfully we aren't just in one band eh? That would force me to bail out. When the drummer is one of the band patriarchs you really are stuffed. Martin

[quote name='stingrayPete1977' timestamp='1417160665' post='2617557'] First come first served and no pulling out from one band because another one offers you a better gig, it's the only way [/quote]Same for me, luckily the 4 bands I'm in vary between being laid back and generally fairly badly organised. I can't moan too much though 'cos they put up with me working mon-fri evenings. Martin

Good work Nick, sorely miss my old 800rb. I've never heard a better bass amp, cannot think why GK don't still make them. Wait 'til you play it through an SVT 810... Enjoy it mate, Martin

[quote name='blue' timestamp='1416451187' post='2610401'] Magic, my Dad took me to the Shea Show. I think the tickets were like $5.35 a bargain. I saw Paul last summer and paid 160.00 for 20th row in front of the stage, still a bargain in my book I still wear my Shea Blazer and Beatle Boots. Blue [/quote]That's a great gift from your Dad, Blue. I've often discussed with my peers (I'm mid '40s) how that Shea stadium footage that would crop up on TV throughout the '70s, pretty shoddy documentaries usually, influenced a lot of us to get into bands. I think it was the clip of them walking onstage to 'I feel fine', which I think was from another gig off the same tour, dunno. Even though we were born in the '60s we feel cheated that we missed the '60s if that makes sense. My 4 year old son enjoys the Shea clips too, I've had to learn a lot of early rock'n'roll from the '50s for a band I'm in and he's loved hearing those great songs. I'm sure there's something in the formative years of rock that communicates well to kids. The closer you are to 'Rocket 88' the better in my book! Thanks to the OP. Martin

I use a Faital 15pr400 in a DIY ply cab, similar in size to a Trace 1153 for most gigs and rehearsals. With a GK head or an Ashdown ABM it gets a sound reminiscent of the B15N with a JBL I owned around 10 years ago (i.e prior to being a parent), it gives lots of great low mid growl and punch to get you heard through the band. I'm not going for extreme low end though but that requires bigger gear I think. I'd stick with the Faital, quite high end gear in my opinion, for what that's worth. Looks like you've got a great cab to me just enjoy it. Martin

[quote name='discreet' timestamp='1397651255' post='2426038'] It's a well-known fact that you can carry stuff further when you're pissed. The front pockets are huge, I've easily got room for my GK Fusion, mains lead, speaker lead, instrument lead, strap, Zoom H1, tripod, bass stand, torch, batteries AND two tins of beer. This without making the case strain or bulge in any way. The zips, stitching and handles are all top-quality, too. I fail to see how PR can make a profit on it, frankly. [/quote]I totally agree about not seeing how Protection Racket make any money on the 7051 gig bag, glad I chose it. I bought a GK MB200 this week and with the amp in the gig bag pocket, gig bag on my back and cab in my hands was able to do one trip from car to gig. A far cry from my valve amp lugging days! Playing in the middle of Brum tomorrow, so ease of load in is vital. Of the 3 drummers I play with, they all have used Protection Racket cases for years which is what made me choose the 7051. Martin

There's already some great mentions on this thread but please give Howlin' Wolf a listen...it doesn't get much better! Somebody who's lifetime encompassed the era of Charlie Patton to the Rolling Stones, to me his music has both soul and the aggression of Rock'n' roll. It's all there, great 12 bars and classics over 1 chord, 'smokestack lightning', 'wang dang doodle'. I never tire of his music, all centred around a compelling vocal.

2 for me also, both of which get plenty of use. '72 tele bass,de-mudbuckered (un-mudbuckered?) and now unrestored with the p bass rout exhumed, getting much use as a mongrel slab p bass. 'Tis the one in the Haynes manual for those that have that tome, still sonic blue and with more decals. USA EBMM sub, I think it originated from Dazed who did a fine job of stripping the neck back to bare wood, I didn't buy it from him though. Perfect covers band bass, so good that it meant that the business-case for me hanging on to my lovely trans orange 'Ray was too flimsy, sob! I think two basses is as much option anxiety as I can deal with. Martin

I think the timber merchant will usually have a circular saw table with an adjustable fence that will insure a square cut; this is unlike the vertical saws that some DIY sheds have. I used Travis Perkins last year for a cab I built and their cutting was very accurate, it made the build a doddle. I also used a hand plane for radiusing, it went better than I expected as birch works well. The top veneers can flake a bit so careful how you handle the panels while they are un-radiused if that makes sense. Good luck, Martin

I must add Kim Clarke's bass on Defunkt's 'Thermonuclear sweat' as a great Stingray sound.

Exactly what happened to me when I dropped on an old GK800rb for less than the cost of what I paid for revalving my old SVT. It's funny how you arrive at the sound you want, I've found it best to ignore what your favourite players use. The Ampeg growl I wanted ( I've had mk1SVTs and my favourite valve head '70s V4Bs) I found in GK amps.

[quote name='stingrayPete1977' timestamp='1410642967' post='2551634'] Cass is the nuts isnt he, I wouldn't want to go on before or after him although at the same time im very envious! [/quote]Whenever I hear the siren voices luring me away from my Ray I just think of the sound he had in the soundcheck!

[quote name='stingrayPete1977' timestamp='1410636695' post='2551546'] And a year later he still has that Cutlass on loan if he did not collect them until later, the bass tech is tuning a Ray up in the background ready for the next song if you watch carefully, not a pre EB though as it has an arm contour and possibly a truss wheel as it has no skunk(anansie) stripe [media]http://youtu.be/xYMz6wsIKdg[/media] [/quote]I think it would have been late '94 when a band I was in supported Skunk Anansie at the Splash Club at the Water Rat. I remember saying to a band mate 'that's Cass Lewis from Terence Trent D'arby's band...'. Much as I am not really a fan of their music they were very strong and definitely the finished article even then. His rig that night was the Cutlass through a Trace Quatra into 2 Mesa 4x12s that looked like they were EV loaded, the flightcases had The Who stencilled on them; just the most incredible soundstage from the setup, lots of bass,mids and treble a great sound. Really integral to the bands sound. As is so typical of that time in my life when I did decent gigs, my sound was just nowhere at that time, I could play as well(debatable) as I can now but couldn't put it all together. A chastening experience sharing a bill with Cass Lewis! Back to the OP, I always think it sounds like a Stingray on 'Ashes to ashes' by Bowie, though I've only ever seen George Murray use a P bass or a Travis Bean. Definitely one on 'State of independence' by Donna Summer. Martin

Camille Hinds. More for the era and the style of his playing I'll add John Wilson for 'Penthouse and Pavement'. Listening back to the playing from that time there is a real aggression to the playing compared to how behind the beat funk is played now. Neither is better, just different decades. Martin

Another characteristic in some designs is phase cancellation between two coils imparting a sound, a big part of the Stingray's scooped mid sound, I mention that as I am a big fan of the Stingray sound. Or the Tele bass mudbucker. Some humbuckers don't seem to have the same scoop. I've heard there's something in ceramic pickups sounding better close to the string and alnico further away; dunno about that. Not answering your question but there is a good book by Dave Hunter about pickups...it cured me of ever wanting to change pickups on a bass ever again. It made me realise that I was from the age group and era where it was all about upgrade equals louder, if that makes sense! Martin

[quote name='fumps' timestamp='1407741939' post='2523395'] all of the Beastie Boys "Ill Communication" was recorded using an upright. [/quote]I recall the Beastie Boys saying that it was a Ron Carter sample on 'Pass the Mic'

Carol Colman on Coati Mundi's 'que pasa/me no pop i'.

Kim Annette Clarke, Defunkt (great Stingray sound on 'Thermonuclear sweat') Tracy Wormwoth, The Waitresses

[quote name='tauzero' timestamp='1406199467' post='2509215'] I suspect it's whatever material is left after Peavey and Trace Elliot have sucked all the heaviness out of it to include in their cabs. Which reminds me, what sort of quality was the 12mm ply used in the prototype cab builds? B&Q quality or top quality Baltic ply with voids filled with unicorn tears? [/quote]Mr Tauzero, not answering your question but I mention this as you are local; the Lichfield branch of Travis Perkins supplied me with an 8x4 sheet with very accurate saw cuts (table saw not vertical) of 12mm birch ply for around £50. That made a 1x15 cab approx the size of a Trace 1153. Hope that is of some use. Prices as of May 2013. Martin

Hi Stu, I agree with pretty well all of the above but I'd add have you tried lowering your bass? I've had to do this recently with my slab tele/ P bass/ lump of concrete. Through lowering the bass my right arm suddenly doesn't hurt any more, my left hand technique works OK but looks horrible! I've always had the same issue; raise the bass and left hand struggles less but my right hand and arm are tied in knots, lower the bass and I am comfortable but my left hand technique is put back 30 years! Best of luck, Martin

[quote name='ash' timestamp='1404384630' post='2492089'] Hi Martin, how you doing? Thanks for the info. My second plan of action was to keep the original cab as is and get a more modern cab and 'pimp' it with Vox speaker cloth etc. to retain the look. There are plenty of nice lightweight cabs out there with suitable vinyl finishes - I admit I had thought of using a Markbass however and just leaving it as is - that would be a meeting of old and new to make the purists wince wouldn't it? [/quote]Hiya Ash, I'm not bad mate. I'll be using the '72 tele / slab P from hell a week on Saturday at a Rockabilly gig; I ought to be doing Pilates and Alexander technique in anticipation of wearing the bloody thing! Still psyching myself up for that ex-Druid bass thread... Good idea regarding retro-ing up a new cab design, you can just use the original for Sunday best, lip-syncing on TOTP or whatever.If you have the time or inclination you could build one, maybe? I made a DIY 1x15 last year, Mr Balcro helped out greatly with the specs and didn't recoil in laughter when I emailed the photos of the finished article. The woodwork (12mm ply) and hardware came to about £70, it came together easily as Travis Perkins did a great job of the cutting list. If I had more time and money I'd be intrigued about doing a DIY copy of a Fender Showman tone ring cab. Keep us posted, Martin

[quote name='ash' timestamp='1404382451' post='2492052'] I'm having the same problem, my speaker cab is an earlier Vox 18" from '64 - the amp is a very loud AC50 and they are an original set. The 18" sounds great at low volumes but is underpowered for the amp ( I suspect it was used in a pair) I believe the original Celestion speaker is only rated at 50 watts. Been looking at the Fane Sovereign range which cost around £125 for the 18" and state they are suitable for bass guitar in small enclosures. If anyone has a 100 watt Celestion 18" knocking around I'd be interested though. Added a picture of my Vox stack and the type of Celestion. There's a good site about Vox Foundation cabs here - [url="http://www.voxac50.org.uk/index_07.htm"]http://www.voxac50.org.uk/index_07.htm[/url] Very interesting thread by the way. [/quote]Hi Ash, I enjoyed the thread you attached. This is off at a tangent somewhat. Around 10 years ago I owned a mid '60s B15N...it had a few issues (like most vintage gear that has come my way!) but had an after market alnico JBL 15 in it. I remember thinking what a nice cab it was, it had the slot ported reflex design with the double baffle I think. What with all the info available could there be any mileage in doing a portaflex cab replica in Vox cosmetics? Could be nice with an AC50 driving it and at least then there's all the homework done by other people as to what current Eminence would work in that cab type. All the best, Martin

[quote name='bubinga5' timestamp='1404080817' post='2489181'] i really dig his style. the guy was mental, and that comes across in his drumming. he's no billy cobham, but thats what makes him more interesting. he's def not sterile. [/quote]I really like the clips on Youtube of The Who from 1964 when they were briefly called The High Numbers, I think the gig was at The Railway Hotel (should help you find it), as you get to see Keith Moon's drumming on a smaller kit and making a room full of people dance. Quite a tough RnB groove comes across from him on Jessie Hill's 'ooh pooh pah do' (spelling?). I guess he would have been about 17 at the time. The 1969 Kilburn gig that there is footage from shows more of the no hi hat style that he evolved into.