chris_b

I don't know what was being used this time, but, in the past, with SD, Freddie Washington has used his old P bass with Badass and Bartolini mods.

The SM is a 12" + Tweeter cab. I also have 2 SC's and still use them where I need big low end, ie Reggae gigs, but I like the addition of a tweeter.

For most gigs my current Barefaced rig is a Super Compact and a Super Midget. That covers everything I need to do.

Do I have to choose? I'd pick anything by Stevie Wonder, Bruno Mars, Ed Sheeran and Mark Ronson.

Yes. The only thing I insist on is either 18mm or 19mm at the bridge. So far I haven't met a scale, neck shape or nut width etc that is a show stopper. For some reason, only that bridge measurement matters!

I bought the Reeling In The Years single in 1973!! That's nearer 45 years!!

As long as they are all in the right order. . . . good luck.

Video #1. . . 15 mins of common sense. Specifically about the music business but most points would be reverent to success in many other jobs and careers.

These are great lines. I believe Rutger Gunnarsson started as a classically trained guitarist. Great bass playing is easier to achieve when underpinned by impeccable musical knowledge and technique.

I am not an engineer, but logically, the properties of the cab have to be constant no matter what finish is put on it. If you really want to know email Barefaced.

I've had batteries run down in my Wal and a Lakland. They both sounded different, but started quietly so I had plenty of time to sort them out. One produced a swishing noise and the other started to distort. The batteries in the Lakland lasted more than a year. That was over 100 gigs. So I now change the batteries on the 1st January. I save the old one and put it into my tuner. I might be extending the battery life by running the volume at about 3/4. So the bass volume is down a little with the amp volume doing the heavy lifting.

I don't see how it could do that. The bracing is inside the cab, connected to and supporting all 6 surfaces and the strength of the front of the cab is in the baffle. The grill is only held on by screws. I really doubt there's any bracing there.

All my Barefaced cabs are cloth fronted. They are lighter and I think they look better. I carry and look after my gear so the strength of cloth versus steel doesn't come into it. There are probably more steel grill cabs for sale because they are less expensive so there will be more around.

Don't get too enthused about the guy in the isolated bass video. I'd use this to get the notes together and then work them into a performance playing along to original.

Maybe, but as the thread is about switchable impedance and that's what the BF can do I think it's relevant to give it a mention.

The Barefaced Two10's switch between 4 ohms and 12 ohms.

Andertons have a wall of Sire basses. I'd check them out, but out of the basses you mention my choice would be the one that felt best and sounded best. . . . to you. From a distance I'd be expecting the Marcus Miller Jazz to be the sound I prefer. I'm generally a fan of Fender Jazz style basses.

It's a pat on the back to be asked to join a band. If they think you're good enough, you are. You just need time to settle in, but dumping 50 songs on you is a pretty thoughtless and unhelpful thing to do. Get the repertoire broken down into smaller chunks. Don't get stressed, just remember. . . they want to play with you. Good luck.

I'm not sure I know the difference between strings and their tensions. Maybe it's my technique, I skate along over the top of strings and never "dig in" but I can only see a string being "floppy" if you are really pulling it. If that's what is causing the problem. . . don't do it.

I have used DR Lo-Riders and Hi-Beams and now D'Addario NYXL. I'm happy with the clarity and definition I get from these strings, but IMO any muddiness is probably down to the bass. My Sadowsky produces very clear notes on all strings. From the reviews I've read Dingwall's might be the best for clarity.

I think Motown valued Jamerson very highly. He was the highest paid session player in the USA during Motown's heyday. . . and they put up with all his "games", which none of the studios and producers in LA did.

Very true, but I have played some very good gigs were the singer has been depped. You work out what the dep knows and what you know and the gig takes shape from there. I would imagine it would be almost impossible to make this work with an original band or with a bunch of players with little experience or no depth of repertoire.

Reading some of these posts, you can make problems for yourselves if you insist on playing the original lines note for note on every occasion. If you really have to play a line and you can't, then the only answer is to practice it until you can! If I'm learning a song, I check the original version, then I have a look for the original band playing live. Many times they aren't even playing the original lines themselves. I work out what needs to be kept and what I can add. I make sure I capture the gist, the feel and flavour of the original but I'm the player. It's perfectly acceptable to make these songs your own.

It looks like we are at opposite ends of the spectrum then. I can't understand sitting at home, twiddling your thumbs, when you could be gigging, just because one of the band might go on holiday! I also don't understand this all or nothing approach when it comes to band members. If these guys are the only ones you can comfortably play with then your band needs to work on improving their confidence, flexibility and musical ability.

Excellent news.