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[quote name='fretmeister' timestamp='1375714917' post='2164631'] You can get Marshall VBC412 pretty cheap used 4ohms and fekking loud too. It's a great cab for rock & metal. Still my favourite cab in the universe. It's 110lb though.... [/quote] Remember he doesn't drive. Could provide some laughs for the public though!

[quote name='Ian Savage' timestamp='1375660657' post='2164076'] I wouldn't rely on one of the MBs, but the DBSeseses I'm rocking right now seem pretty much bullet-proof [/quote] When I was looking at rigs, the DBS was a serious contender.

[quote name='chris_b' timestamp='1375688787' post='2164161'] That must have been a pretty poor 410! Define "good" and "average". To be any help to the OP we should be assuming we are comparing apples and apples. The point is that more speakers move more air and create more volume and more tone as a result. In my opinion speakers make a better sound when they're working comfortably, not when they're working flat out. I don't know the gear but the TC deal sounds good on the face of it. 2 212's would do the job, IMO. I'm assuming the OP has a combo? If so, a better option might be to add an extension cab. [/quote] I had a Trace Elliot 4x10, so not a poor cab, but certainly not a great cab. I replaced it with a Markbass 2x10. So a mix of better cab design & better quality drivers with a much longer excursion makes all the difference.

I've found a good 2x10 to easily beat an average 4x10 in both volume & sound quality. My new band has a drummer who sounds like he uses maces for sticks & 2 guitarists, one whom likes to try & drown out the drummer & I have had no troubles being heard. Those cabs that Lozz linked to could be worth checking out.

I'd be looking at a better 2x12 (or 2x10 or 1x15) that is lighter. Maybe a TC RS cab, or have a look at the 2nd hand section on here, you could pick up a pretty decent single lightweight cab that could cover all you need.

What's the 2x15? I'd take it over the 4x10 or 8x10 myself, depending on what it is of course.

I've always said get a multi fx until you know what you want, but if you've got 3 spaces & £300, then why not go for 3 pedals similar to the Zoom MS60b? That way you get 3 pedals that cover everything. Or 2 of them and a decent dirt pedal/octaver/wah depending on what you want to do.

That's quite a list of endorsees Tom, I'd be proud to have done 1/2 of what you've done when it comes to music. & you play bass with just an index & pinky finger? Must be a Country bassist. Dood, congrats on becoming a dad.

I used to have a Marshall 2x15 rig back in the 80s. I think the main reason they get dismissed for bass kit is because they stick the stuff together with Pritt stick.

+1 for the Hercules stand. I use mine for bass & electro acoustic guitar (one at a time of course).

The problem with written word over spoken is that the written word can be read multiple ways. Because we don't actually know each other in person, how a person talks etc, reading something can easily come across with a different undertone from what the poster would when they speak. I'm relating this not to just one person here, but to multiple. I don't know how Tom speaks, but there's every chance being from the US that Tom may be quite a loud & flamboyant character. & I'm not putting that as a negitave. But I don't know how any of you guys speak & where I think you all sound like good folk, you each may well be totally different from what comes across on here. Anyway, carry on.

Only one way to find out as it depends how loud your guitarist is (most seem to be like grown up kids with a hammer). If it isn't, then add another cab or get a louder rig.

+1 to all the above. You might already be doing this, but put the combo in a corner of the room. The 2 walls will help reinforce the sound. If there's an ext speaker out, add another cab if you can. If it's the BT220, then adding a cab draws more power.

But then the bassline to Billie Jean was directly inspired by I Can't Go For That, which itself is every bit as a unique bassline, & although a well known song to the older generation, just not as famous a song as Billie Jean. I wonder if Hall & Oates had written Billie jean & MJ wrote I Can't Go For That, which of the basslines would be the most memorable?

[quote name='Prime_BASS' timestamp='1375334638' post='2159835'] To me the lack of EQ, or a visible gain stage makes it a power amp, simple as that. [/quote] You might just have hit the nail on it's head. So it could make it a good amp for those wanting to use their own preamp. I like my EQ section, so I'll stick with my Markbass.

Your title is misleading to the question. "Memorable" isn't the word you're looking for. I think a lot of the "best" basslines that are in the top whatevers are there because most of the songs are very well known pop songs. A good example would be how many jazz songs make it into these lists? The Waking by Kurt Elling has a tremendous bassline that if a band like Queen, Muse or someone else famous had written it, it would then be a "top" bassline. It's not just Jazz, you could take any non pop genre & find some killer basslines that put most of the pop top down the overall list. Funk is a great example of cool & groovy basslines. Not that many folk listen to actual funk though. The closest most seem to get to funk is RHCP, & whilst they're funky, they're not funk. So what makes a "memorable" bassline? One in a popular song.

Do the needful. Get a bigger board & a Moog!

There's also [sfx] for those tiny enclosures. Silentfly on here is the man to see about them.

[quote name='Jack Cahalane' timestamp='1375181820' post='2157634'] That's not what I was thinking, sure it explains it to you, but not as simply as the post in this topic [/quote] Good point.

[quote name='Jack Cahalane' timestamp='1375135221' post='2157228'] Something like this should be stickied, I spent ages trying to figure out what I needed until someone on here explained it as simply as this. Really helpful if you haven't got a clue like me [/quote] Funny enough, in the "Amps & Cabs" section, we have this... http://basschat.co.uk/topic/135-impedance-etc/ HTH.

You can get patch pedals that allow you to turn on/off multiple pedals at once. Something like this... http://www.thomann.de/gb/carl_martin_octaswitch_mkii.htm

pedalboards usually come with an average to poor dirt sound. Buy a dedicated dirt & octave & use the board for the other fx.

+1. I'm a Fuzz into Wah man myself. The only thing that's after my Wah is Chorus. I had a good play about with my board & tried umpteen different combinations, including dirt > octave > wah > dirt & finally settled on my original setup. Looper off > wah > chorus Looper on > octave > Murf Left - mid & high frequencies (dirt > wah > chorus) Murf Right - 110hz & lower clean sub channel > summed back together > amp. Makes some very nice synth sounds.

I had a supermarket's own brand PSU which I used on my FX. Hummed like a fridge full of wasps, bought a decent PSU & no noise. So if you can try a different PSU, do so. It may be picking up interference. Oh, also worth checking how many mA the PSU puts out & how many the Zoom requires. Make sure the PSU supplies more than the pedal needs. Edit: I doubt the Zoom would need anywhere near 3A, more likely to be @ 300 mA, tops.

I use my MB 2x10 combo at home. It has a rotary dial thing labelled "Master". If I keep this turned almost fully anticlockwise, it's perfect for use at home.* You can get a 2nd hand MB combo for @ £500 (give or take £100). If you want the Markbass sound, then saving your pennies is the best option. Failing that, I'd go with what Lozz has advised. *Sorry about my sense of humour.