chris_b

[quote name='wateroftyne' timestamp='1507874810' post='3388427'] I'm questioning whether this instance is appropriate in an r'n'b classic :-D [/quote] Being pedantic. . . . at the time we called it Soul Music. R&B was a totally different thing.

[quote name='chrisanthony1211' timestamp='1507835059' post='3388323'] Yep, insured to drive once the stitches are out, [/quote] OK. Have a good gig.

Is 10 days the time allotted for this operation by your insurance company? They will have a sliding scale for operations and periods they won't cover you whilst recuperating.

No, that was Martin Blunt. Pay attention.

6345789. . . . It's the same line as on the original. They tried to keep the same bass pattern running through the Middle 8 chord sequence. While it sounds OK to me, a different line could have sounded more "natural".

Duck Dunn just about rescues crashing into the first chorus on Sam and Dave's Soul Man. If the groove was good then the mistakes stayed. Time and tape was expensive back then and most bass lines "disappeared" when you played the record on your Dansette or listened to it on the car radio.

[quote name='squire5' timestamp='1507803522' post='3388021'] Or is it just me?.....[/quote] Just you I'm afraid. There are a lot of bass lines that don't follow the root and they aren't "out of tune" or wrong. Squeeze pushed the envelope on "discordant" bass lines a great deal further with Tempted. And that worked well. This guy could be reading the lines that the arranger wrote or he could be playing his own lines. If the latter he's wouldn't have made the final cut if the producer and BD hadn't wanted it that way. And what's wrong with the song? It's a good pop song.

IMO if a bass is well set up the gauge of the strings is not important. If you're just starting out on bass there are far more important things to worry about and master before you get into stuff like this.

Rob Allen uses La Bella Black nylon tape wounds on his fretless basses. I briefly had on of these and it felt very easy to play and sounded wonderful.

Then there's the other scenario. . . . suppose you do the gig and get somewhere into the set. . . . and the injury kicks in. If you can't continue the gig what's plan B? Use your thumb, a pick? Spare bass player sitting beside the stage?

This is an injury that risks your ability to play bass and probably many other things in your life. The risks are significant. Don't do it.

[quote name='Happy Jack' timestamp='1507542744' post='3386107'] Yes. [/quote] [quote name='BigRedX' timestamp='1507546499' post='3386160'] No [/quote] Maybe

The TH500 is a very loud and fine amp. . . . well, my 2 have been fantastic through both a Berg CN212 and 1 or 2 Super Compacts and in several very loud bands. In the SRV band I'm usually loud enough to make the guitarist have to turn up. The TH500 is no wimp. Do you use pedals? Did you go through the PA like the main band did? If you didn't you're not comparing apples with apples. For me issues and problems with other people's gear usually comes down to not understanding the controls. Edit. Presumably if the main band bassist was the sound guy you sounded good out front?

I'll second the ear plug thing. I waited until the damage was done. How stupid is that?

What's the point in selling one of them if you don't want to? Unless you need the cash or space keep both.

Even the most complicated music is simple, if you break it down into sections.

The point of a head is what it sounds like. After that you buy the weight, size, shape and colour you choose. What the cab weighs doesn't come into it.

I can listen to Larry Graham all day, Marcus Miller for 5 mins and Mark King for 10 seconds. IMO it's just one of the techniques we should all know in order to become better and more complete players. The best slap players use it sparingly and effectively, ie Chuck Rainey, Alex Al, Reggie McBride and Nathan East. I have several regrets in my bass playing life and one of them is that I never managed to learn to slap, but I'm in good company, ie Wilton Felder, Willie Weeks and Duck Dunn.

[quote name='BarelyL4' timestamp='1507389718' post='3385166'] I currently run a MB LMII into a Berg 2x10, so I'm looking for a similar set-up but in a lighter package.[/quote] So your amp is putting 250 watts into your 8 ohm Berg 210. IMO the BF Two10 will easily outpace the Berg. You currently have a tweeter which you might miss, might not. That will depend on how much you use it. I'd still email Alex.

This is the problem with "How long is a piece of string" questions. You get so many answers that you can't make an informed decision. What amp and cab are you currently using?

[quote name='Jazzneck' timestamp='1507365782' post='3384944'] .......but Beck started it all! [/quote] He did. The Jeff Beck Group was a force of nature. Their gigs were the first where you could say the band [i]rocked[/i]. LZ and Deep Purple followed a year later and the rest after that. JBG, along with early days Cream, definitely started it all.

Edgy sound, loud drummer, pick, 4 ohm amp. . . . I'd also be looking at the 12" cabs, then again the best answer is probably don't ask us email Alex and ask him. He's pretty good at matching players requirements and his cabs. What is your definition of loud? I use 2 Super Compacts in my [u]loud[/u] rock/blues band. If your pick playing means you want top end "bite" in your sound you may need the BB2's compression driver or SM's tweeter.

Hi Radchenko, I still think the BB2 will do what you want in a 1 cab format, but you can talk all these ideas through with Alex at Barefaced. Just drop him an email.

[quote name='radiophonic' timestamp='1507277100' post='3384386'] I've never had a bass lesson in my life though, so I'm probably doing everything wrong.[/quote] If it works then it isn't wrong.

Years ago I saw her on TV doing a Bobby Bland song. Everyone covers BB songs from Joe Cocker down and this was one of the best versions I've heard. Lulu is/was wasted on pop songs.