Dan Dare

[quote name='Cuzzie' timestamp='1500557649' post='3338692'] only if you ask him in 140 characters or less............. [/quote] Neat

I'm with the OP on this one. My late missus would come along to gigs on special occasions if she felt like it, but she wouldn't have wanted to come to work with me and see the same stuff over and over, any more than I would have wanted to go and sit in the university where she worked every day and listen to her delivering lectures.

You don't say what it is that you don't like about your instrument that is causing you to want to upgrade. A bit worrying that you say you're a complete novice, too - it's easy to ruin something if you don't know what you're doing. Modifying instruments is a guaranteed way to lower their resale value. If you want a different sound, I'd advise you to sell the P Bass as is and buy something that suits you better. You never get your money back on replacement pickups, etc.

That's what you get when you add blue dye to the dog's food.

If you like the sound of your amp, why not add a power amp (which you can drive from the preamp out or effects send) and additional cab(s)? PA power amps, even decent makes, are cheap to buy used. That way, you retain the small combo if you don't need more and can just augment it as needed.

I have 2 C4s and a 4B. Very clean sounding and a surprising amount of wellie for their size. 4B, which is a larger cab, but with the same drivers as the C4, has more bottom end - an ideal single cab for small jobs. For rock, you will need multiples to shift the air. They are quite inefficient, too, so soak up the power. I use an Aguilar AG700 with mine. Add the cost of several cabs to it and it isn't a cheap set-up. The beauty of them for me is that I can take as many/few as I need. They're an easy carry - a few more trips to the car, but no hernia, which at my age (63) is a definite bonus. You really need to try them to see if the sound suits you. I tried out the first one I bought with a LM3 in the shop and the combination worked very well. Hope this is of some help.

G&L L2000 a great sounding instrument. Pickups are very versatile and full sounding. However, it has a very wide fingerboard. I had one and couldn't get used to it after years of playing a Jazz. Sold it and got a P/J.

This is well within budget - http://www.gear4music.com/Guitar-and-Bass/Squier-by-Fender-Vintage-Modified-Jaguar-Bass-SS-Short-Scale-Black/JWJ

Hope you manage to get them back.

Jaguar? Medium scale and a P/J pickup combination, so similar to what you've been using.

You really have to try some stuff and not buy on recommendation. What suits us may not suit you. You can always visit a well stocked shop or two, get an idea of what you like and then look for it used if the budget is tight.

I've had both. Found Hot Covers to be slightly better made/sturdy, but more expensive. Your choice.

[quote name='Len_derby' timestamp='1500180775' post='3336050'] Over time, I've tried to stop fretting about it. Particularly in a live situation. Yesterday I payed at a festival with an active Precision through a Trace Elloitt combo. I didn't like the tone I was hearing on stage at all, but the people out front said it sounded just dandy. [/quote] So true. I played through a Markbass rig that belonged to another bass player on the same bill. Didn't like the sound on stage, but it was excellent out front. We were both using J basses, so I what I heard when he was playing must have been the same or very close to the sound I had.

[quote name='tommorichards' timestamp='1499981423' post='3335011'] Thanks guys, but i think it might be a memory thing. I can play random creative stuff like nothing, but its recreating it, and making a song/structure around it thats my main issue [/quote] It may sound tedious, but it appears you may need to learn some theory. Being "creative", i.e. noodling, is good fun, but you need to understand what you're doing, otherwise it all goes up the chimney and you start every day from square one.

Good sense. Shame so few do it.

Interesting that several refer to the fact that the sound from one band at a concert (usually the headliner) was excellent, but terrible for other acts. Probably because the main band's sound man was doing it and didn't want others to sound too good. It happens.

Hilarious. Mega bargain

[url="http://www.ebay.co.uk/itm/Promethean-4X10-Bass-Cab-By-Ibanez-/162549889654?hash=item25d8ba7a76:g:lLAAAOSw-29ZPWH1"]http://www.ebay.co.u...LAAAOSw-29ZPWH1[/url] Looks interesting. Didn't know they had done a 4x10. Anyone think it worth a look?

Thumbs up

[quote name='Mykesbass' timestamp='1499721596' post='3333197'] What complete and utter tosh [/quote] You're quite right. I read and find it very useful - you can learn things so much more quickly and easily. Nobody questions the need to be able to read the language, claiming it "limits soul/creativity". However, I wouldn't wish to see an actor reading from a script on stage. It's about presentation. Musicians reading parts in a performance situation can look lifeless - as if they're not really there. Worse is seeing them reading off iPads, their faces illuminated by that ghastly blue glow from the screen. I use parts to learn material, but would prefer not have them in front of me in a performance situation.

About the going rate, I think. Those Chinese Ashdown cabs don't fetch a lot used.

In my experience (such as it is), I find that classical players tend to want the dots as a comfort blanket. They don't actually need them - most are very accomplished - but they have always had them and find it hard to break the habit. If they are willing to try without at rehearsals, they may be surprised at how well they can manage without them. But (and it's a big but) they have to be willing to try. Some I've encountered just wouldn't. If that's the case with your situation, I would think about whether you want to continue with it. It could be very trying.

[quote name='mentalextra' timestamp='1499467882' post='3331804'] Judging by the amount of chart music where huge amounts of autotune are applied deliberately making the artist sound like a robot, i fear for the future of singing? [/quote] Chart music is a tiny part of the totality of music. It may have a high profile, but it is an irrelevance. The "future of singing" is safe. It just ain't in the hands of western chart music and its purveyors.