Dan Dare

A classic example of solipsism, I'm afraid. To most listeners, who are not focussing solely on the bass but hearing the whole piece, a bass player, no matter how accomplished, playing on their own with a drummer and one melody instrument is not very interesting. Sorry, but that's the way it is.

Thick picks will help, as others suggest. If you're playing with a very loose wrist and slapping the strings with the pick (especially if it's thin), that will increase the noise, too.

Steve Winwood. WHAT a singer.

I'm not talking about volume, but texture and I disagree with your assertion. A band can sound "thin" if there is little happening harmonically. The worst example is the classic guitar, bass and drums trio. When the guitar player stops playing chordally and takes a break, you have drums and one, yes one note (unless the bassist uses a lot of double stops and/or chords) playing at any one time. Not very interesting and it's going to sound sparse, however much you "add authority" to the sound of the bass.

If you just want something to drive your tops for vocals, these - http://www.allen-heath.com/ahproducts/pa12-cp/ - or the Soundcraft equivalent are nice. Decent eq and onboard effects and you can often pick them up used for not a lot (which is what I did).

Probably made by one of the major string companies, as are most strings marketed by instrument companies under their own name. If the price and gauges are right for you, worth trying a set.

I like MB a lot, but Aguilar ain't bad either.

Bill's correct as usual. Many amps that run at 2 ohms have some kind of limiting circuit, anyway, to prevent excess current draw/overheating, so you're no better off than if you run them into 4 ohms as far as power output goes.

Why get a small low powered head for practices? Any modern, powerful class D head will be light (my Ag700 weights about 4 and a half pounds) and do you for full on gigs as well. Saves having to buy two.

That could cost you a lot of money one day. In practice, the premiums aren't that much greater. I get mine through the MU.

You forgot a very important point. You must use a cab that is capable of reproducing the full frequency range fed to it and at full volume. Such a beast does not exist in any transportable format.

That sounds like a recipe for cacophony. Unless it's an arranged, multi-instrument break, the rest of the band should be providing back-up when someone takes a solo and staying out of his/her way. You wouldn't all noodle away whilst the singer was singing (well, you shouldn't, anyway).

Get a keyboard player. With up to ten notes at once on tap, they fill out the harmonic palette nicely...

Very good point. Although bass players may not use compressors per se, a lot of bass rigs (especially smaller combos) do indeed compress naturally by virtue of the fact that they run out of headroom.

Anyone remember the old massive - around 2 metres tall - Orange cab? I think it was 8x12. Have tried to find a photo and failed. Ridiculous thing, but would terrify your local bar if you turned up with one.

I don't know the seller, but just spotted this in the marketplace. MB do warm vintage better than many of the lightweights and it looks to be in very nice shape. Worth a look? -

Yes. I think raising the whole neck slightly would be the way to go. As you like the way it plays, it sounds as if the neck angle is good and you just want to lower the action overall. Shimming one end of the neck will alter its angle by canting it back, so you'll lower the action at the top end, but you'll have to adjust the nut to take care of the low end. I'd experiment with varying thicknesses of card (don't glue them in place so you can change them) and then get a piece of veneer in the thickness that works best.

You can save mucho moolah by not buying "genuine Fender". A shaped piece of alder/swamp ash, etc is a shaped piece of alder/swamp ash, etc...

It sounds as if you need to raise the whole neck away from the body a little, rather than adding a shim at one end to increase the break angle, so a shim covering the entire neck pocket surface looks the way to go. Fwiw, I don't buy the arguments about decreasing resonance by introducing a tiny gap, etc. However, covering the entire neck pocket surface won't result in any gap if you do it neatly ( a piece of veneer - you can experiment with thickness - should do the trick).

I was told TE used Celestion drivers back in the old days if that's any help.

I use an old Peavey 4x10 at a rehearsal room locally. It weighs a ton, but does "warm vintage" very well. You can pick them up cheaply. However, I wouldn't like to have to schlep one around. If you want light, new and vintage sounding, the Aguilar 4x10 is nice (I tried one when I bought my AG700), but around double your budget. I have one of the older Epifani 3x10s, which can do vintage if you turn off the tweeter. That or one of their 4x10s, if you can find one secondhand, would be a good choice, imho.

"Original" band names are a bit like giving one's child a novelty name. Great fun for 5 minutes followed by a lifetime of embarrassment.

As someone who doesn't like tweeters for bass, I'd say not at all important. But then, that's just my preference. Which brings me to the original question. Our tastes vary widely and what suits us may well not suit you. Good though they are, Barefaced (seemingly a universal recommendation on here - I wonder how many of those who sing their praises actually own/use them) and similar more modern flavoured cabs are relatively unlikely to satisfy your desire for "warm vintage tone". However, something like an old SVT 4x10, which will do that job well, is a pig to move around by comparison. So don't listen to us. Visit a few shops, go to a few shows and try some stuff out.

Clive. Or Tadcaster.

I have a bath quite regularly.