chris_b

Shame. Sounding good. Very tight.

Nah. Just happy you got a result.

I had AE112's for about 6 years and then a CN 212 for a couple more. If I ever move away from my Barefaced cabs Bergantino is where I'd be. I don't know there is a huge difference between the AE, CN and HDN cabs. Maybe the HDN's are the culmination of the tweeks that have been made to the previous models. I'd always go for several 112's, because they are flexible and give you modular set ups. I also have a bad back which is why I had to sell my CN212. I'm always looking for the lightest carry. Also check out Barefaced. My Super Compact and Super Midget make a world class sound and they are two of the lightest, loudest 112's I've heard. I briefly owned a D800 and used it with 2 Super Compacts. They made a great sound together, but I decided I preferred my Aguilar amps. I'm sure the Subway cabs would be an excellent choice. BF have a 20% off sale on their cabs until Monday.

If you look at through the side slots on my Aguilar TH500 and AG700, you can see. . . . . . . virtually nothing! The ratio of stuff to space is about 50/50. Does anyone have any D class reliability issues these days? Not me. Anyone seen a pro touring PA system fail? Those FOH systems have been D class for many, many years. The PA companies who put together those systems wouldn't use anything unless it had the highest reliability imaginable. My valve amps were pretty good but the main ones, Marshall 100 watt and Mesa 400+, did fail on stage a couple of times over the years. I took my SS with a valve pre SVT3 to the repair shop for an MOT. The guy running the place said he'd never had one in for repair, but there were more than a dozen hire SVT's which had problems he needed to fix before they could go out again. SS amps hit a peak of reliability and it only got better with D class. Electrical components will never have 100% reliability in anything but the failure rate these days is miniscule, but that's what backups are for. Who has used their backup amp because of a problem with their main amp? Again, I haven't. Is anyone old enough to remember the TV repair man coming to your house to fix those big wooden cased TV's? Or taking your broken radio to the repair shop? We are are at a time of the highest reliability in anything electrical. So, to get back to the original comments. . . . . I don't see D class amps "regularly overheating". That's a generalisation that I don't believe.

I haven't made a 110 work on a gig yet, but I've used a 112 quite often.

Why?

Did this tech actually find a problem in this amp when he looked at it? I have never had an SS or D class amp overheat and some of them have been run pretty hard.

You are a Jazz man, and you don't have a Jazz?!? But you do have a P bass that "you love". I think you probably have the right bass, but just want another. Bide your time. Save up and get a Jazz when you can afford both.

Rhythm is about patterns. Get those patterns into your head and reading the dots becomes very easy. You don't read the letters in words, you recognise the patterns the letters make and you instantly know what the word is.

In the old days, when you could drive past other gigs on the way to your gig, I was always amused to see Ken Dodd's Dad's Dog's Dead and Howlin' Wilf on posters.

A great P bass and flats tone is down in the foundations rather than up in the attic. Mike Leech - https://www.youtube.com/watch?v=gr_eVcCAUXo Bob Babbitt - https://www.youtube.com/watch?v=A0F9lh8TiSM&list=PLGOMddyl84XCYWEQnQxB9uwo3xDJj4VfW

Email them and ask. You never know.

I agree, the name is important and you have to have a graphic that's simple and instantly recognisable from a distance for the posters.

My last cover band's name was so crap that I spent 8 years referring to it as Steve's band. And no, I'm not telling.

Well . . . . . I met up with Pete, the guy who ran the other band in our school, on a gig with a band that I joined in 1986, via an ad in Melody Maker. He asked me to join his band. He introduced me to Robin, Tim, Pete, Jamie, Nigel and others. Nigel had a band with Dave and they had their own bands. I played with all 3. Roger, the drummer in 1986 band, hooked my up with Polly, Greg and later Steve (mentioned earlier) and Bernie . Playing with Robin I met Ed, Rob, Dave and a dozen others. Debbie saw me on a gig with Dave and I started playing with her. When a different Dave left his band I took over and after a few years moved on to play with Steve. I met Andy through Jamie and after a chance meeting on Woking station, he introduced me to Martin and Keith. That led to joining with Chris, Tommy and a different Steve. Chris left and Steve, Tommy and me played in a cover band for the next 8 years. John occasionally fronted the cover band and I did gigs with his band. Also played with Tommy in about half a dozen side projects. Had an occasional band with Rob and Jools. Ed got me gigs with Andy, Pete got me gigs with Eddy and Dave got me gigs with Johnny. Still playing with some of those guys (especially Pete, from school) and also now depping with Paul, John and Jeff's bands. I think that brings me up to date.

Word of mouth.

I asked in Anderton's about the new lighter Sire basses. They said they hadn't noticed any being lighter than the old ones. The weight is the only thing that's stopped me getting one.

Ah, I see. . . old thread!

I am envious of anyone who is more successful than I am. The answer is to use that envy to push yourself to do better.

. . . . . . I guess he'd have got the DI out of the case? With your band I guess there would be a pretty hefty adjustment to the totally different stage sound. My gig was an old style Chicago blues band, so pretty easy to get to grips with the differences. I went cab-less because the gig was in Portobello Road (and on a Saturday afternoon!) and there was no chance of parking the car within a mile of the gig.

I'd play your normal bass and donate the price of this bass to charity.

I gigged yesterday afternoon with no amp. Just a DI and a monitor. A good sound guy and a couple of adjustments and we were fine all day.

I love playing bass. I can like or dislike the songs, the gig or the band but if me and the drummer are playing well together, I'm in a negative free zone.

Do you play hard? Dig in? If so change your right hand technique and play lighter. Then you can drop the action and give your fretting hand a break as well.

Many years ago I was in originals bands who were signed to labels and management. That was another world, but in the years since I've worked with songwriters where the writing was anywhere between great and woeful! Funnily enough, the worse the writer the less willing they were to listen to ideas. So I have a pretty jaundiced view of the semi-pro "originals" band as a genre. If you are going down the originals route, which is a valid decision, you have to develop a very strong quality filter. It's really not a good thing to be the William McGonigal of song writing. Just being an original song is not enough. It still has to be a good one. A good covers band will play what the audience wants. A better covers band will make better song choices. You have a larger, more varied pool of songs to chose from and you can pick songs that are fresh, audience friendly and excellent songs at the same time. Audiences usually just want what they know but you can broaden their horizons if you do it well enough.