Dan Dare

I feel your pain. To be fair, they aren't all like that. I know of two blues jams locally to me which are run by good musicians where the backline amps for guitars are small (30w or so) and most people can actually play. There are the inevitable duffers who show, but they do their two party pieces and are tolerated with good humour.

Why are you in a band with a plonker like hat? Suggest you leave immediately.

I have a Mex PJ and it doesn't really do the heavy, thick P bass sound. An approximation of it, but not quite the same. It's very versatile, however and does J tone as Marc says.

I never speak to guitar players unless absolutely necessary, so wouldn't have bothered me

Why try to make a J more like a P when you already have a P? Horses for courses and all that.

Me too. Fusion often have special offers, too, so you may save money.

As most basses are fretted, the majority of us needn't worry about the difference between C# and Db because there ain't one for our purposes.

True. They wouldn't hear you anyway if you used it at a gig.

He did indeed. Also "look and sound like a real pro", which is even more hilarious.

Good to see it's made from a wood that's "highly prized for its tonal qualities". Will make all the difference when you play it with your ear jammed against it...

https://www.ebay.co.uk/itm/Peavey-Bandit-Bass-Amp-Speaker-Combo/253409005855?hash=item3b005a911f:g:N5kAAOSwtBdadwLk Any takers? Will last you for your "bass playing lifetime" apparently...

Shallow Gator rack case. They come in 2 or 3 u.

Of course, hence my comment that I'm not criticising the fact that people like that effect. But it isn't accurate. If you want to know what your bass sounds like, route it via a good quality DI into your mixing desk and listen on good quality headphones. It can be surprising.

If you can find one (or more), the Ampeg SVT210HE does the classic Ampeg sound in a relatively compact format. Much better than the 210AV.

I still think we have become conditioned into hearing too bright a sound from basses these days. Listen to a double bass, which tends to produce mainly the fundamental of the note. Where are the bright overtones or the sizzle we hear from so many electric basses? I'm not criticising the fact that people like that effect, but it isn't necessarily accurate or "flat".

That looks thoroughly dodgy to me. Why is Friedland going public like that? No doubt we can look forward to an announcement of his new sponsorship from Aguilar shortly...

Sad. He's obviously let it get to him. Protesting too much and all that.

Of course, but that is not an everyday occurrence. My point was that a lot of it is really blatant/transparent. There are many on here (no names, no pack-drill) who are dealers and it gets a bit tiresome reading how everything they are selling is the greatest bass ever, they're only selling it to "thin the herd", GAS has got the better of them, etc, etc. Cut the b/s, folks. We're onto it.

I don't think MB uses high end roll-off, but that many manufacturers build in high end boost to give their products showroom appeal.

I love these posts that say "My XX bass is fantastic. Brilliant value, best neck I've ever played, etc, etc. Now for sale in the Marketplace"...

I've found MB cabs are slightly unusual in that, up close, they don't sound that great, but they do project very well. A pal uses the 2x10 combo and it has real punch out in the room, but sounds quite ordinary when you stand next to it.

The smaller PJB combos are OK when other instruments are acoustic, but once electricity enters the equation, they don't quite cut it in my experience. I had the Flightcase (4x5" speakers, 150w). Fine sounding but needed help when playing with electric guitars, drums, etc. Sold it and got a couple of C4 cabs and use them with a lightweight head. Good for up to medium volume and moderate drums but after that, it's back to old school cabs.

I agree with all those who comment along the lines of "I can do the job/I'm all right". It's dangerous to pin one's self esteem on it. If you enjoy playing, do a few gigs and get along with the people you play with, that's all good. Remembering how many people there are who can hardly play a note helps put it into perspective.

If you're playing "70s classic rock and upbeat original guitar heavy blues with loud drummers and guitar players", you'll need to shift some air. That old school tone needs to sound effortless to ring true. A 2x10, even one of the best, just won't cut it, whatever anyone claims. Unless your budget is substantial, you simply can't achieve it with compact, lightweight kit. You don't need to schlep an 8x10. Several smaller cabs will do the same job and be easier on the back. I agree with suggestions above for Ashdown amplification, to which I'd add or anything old(er) school, but you'll have to accept it will not be that light. There is plenty of gear from the likes of Peavey, Ampeg, Laney et al being sold off cheaply these days. Peavey 4x10 cabs, for example, are heavy but sound great. Probably the best way to get that big old school sound is to use a preamp and pick up a used PA power amp, which will drive multiple cabs happily. Something decent, such as a QSC, shouldn't cost you more than £200 (for an amp that would have been many times that a few years back). Above all, visit a well-stocked shop and try stuff out. Don't buy on the basis of recommendation alone.

Two pals have the Markbass 1x12 combo and are both happy with them. They turn up used quite regularly. I like them and nearly bought one, but found one cab plus my AG700 head was virtually as compact/easy to carry about, hence my suggestion. Someone (nobody I know) is selling a BF Midget T in the market place for £300. That's a small, light (20lb odd) cab with plenty of poke you could use with your TH. Should be fine for smaller jobs, etc.