chris_b

Sounds like they're having fun. . . . but not for me.

[quote name='mcnach' timestamp='1505502798' post='3372494'] THEN... Barefaced Two10 appeared and I'm back with Barefaced.[/quote] Did you get the 12 ohm or 4 ohm cabs?

[quote name='SubsonicSimpleton' timestamp='1505484387' post='3372297'] Are punch cards more evil than TAB? [/quote] They are when you drop the box and discover they weren't numbered!

[quote name='KevB' timestamp='1505474815' post='3372173'] I had 2 in the same set list for a past covers band. Stones - Jumpin Jack Flash and Cure - Friday I'm in Love. I think the former is out due to a badly tuned studio piano . . . . [/quote] Pianos don't go out of tune or drop all the strings by the same amount. Many notes are multiple strings as well. I've been in a few studios where the whole session was help up waiting for a tuner to come in and sort an out of tune piano.

I had an OBP-3 in a Jazz and the sound was [i]huge[/i], one of the best I've heard. Then again I'm an Aguilar fan and have been using a TH500 since they came out. Other amps have come and gone but so far nothing has knocked the TH500 off the top spot. I believe the OBP-3 came first. That was put into the Tonehammer pedal, which formed the basis of the front end of the TH500. I just love the sound of Aguilar stuff. edit for spelling

[quote name='Al Krow' timestamp='1505141002' post='3369744'] You told Alex that and to abandon his new BFamp? [/quote] If his cabs are anything to go by, I'm sure Alex will come up with a show stopper. I will certainly check it out when it arrives.

That's why so many US touring Soul and R&B acts (back in the day) would play their songs faster on the gig. The theory is if you speed up the songs and they are more "exciting" to an audience. I usually prefer to listen to the records but after a few beers, up tempo versions do get the audiences going.

Some days I'm a P bass and flats guy and I use a Barefaced One10 and my main amp, an Aguilar TH500, if I have to play at home. I haven't gigged with the One10 yet, mostly my bands are full on, flat out loud, but for the occasional small gig I'll use 1 Super Compact. The Super Midget and any Bergantino or Aguilar 112's look like great cabs for small gigs.

Records can vary from standard pitch because after recording someone has listened to the final mix - the band, producer, engineer, management, tea lady - and decided that it sounded better slightly faster or slower. On several occasions I've heard guys say, "This is dragging, can we make it more lively?" The way they do that is to speed up the song.

For about 10 years in the 80's and 90's I played with a drummer who was using a false name for tax purposes. I only found out after the band broke up!

[quote name='drTStingray' timestamp='1505404043' post='3371684'] Sorry to pick on your quote chris_b - but would you guys (and Carol Kaye) be intimating ........ that Leo got this element of the P bass wrong?[/quote] Leo changed almost everything about the original Precision bass so he wasn't perfect . The parts industry certainly wouldn't have prospered so well if he was and neither would the dozens of P and J builders. It shouldn't have taken a genius to work out that after roundwound strings came out in 1966 that there was no point in providing the foam mute as standard, but they kept installing it for years, like the strap button on the back of the headstock and the tug bar. When the likes of Clapton and Mike Bloomfield wanted unwound 3rd strings, in the late 60's, Leo refused to supply them because he didn't think guitars should be played like that! Fender were good but have never been infallible.

[quote name='toneknob' timestamp='1505402709' post='3371672'] I'm Spartacus [/quote] . . . . and so is my wife.

[quote name='FuNkShUi' timestamp='1505390625' post='3371542']I had a Big Twin II. It was huge sounding. It was a little too open sounding for my taste too. [/quote] I sold my BB2 for the same reason. I replaced it with 2 SC's. That's the benefit of multiple product lines. If one doesn't fit the others may do.

[quote name='Kirky' timestamp='1505390035' post='3371529']Quite tempted with the FR800 as my amp is heavy too.[/quote] I'm sure the FR800 is a stellar cab but there are many fantastic light weight amps around theses days.

Mine was in front of the bridge so killed the sound. Everyone I knew removed the foam, even if they didn't take the ash trays off.

That's the power of a good tune.

Would it fit on top of the cabs if they were stacked horizontally?

Alex will give you the facts about his cabs. I don't understand why you would want to put a negative twist on my post.

[quote name='Daz39' timestamp='1505299856' post='3370808'] Every Breath You Take by The Police [/quote] Sting said once he wrote that about all the bad things he did that caused the end of his first marriage. I've seen him give a different story since.

Apparently at sessions he used to put up a sign saying, "You done hired the hit maker". Not sure I could talk to the guy for more than 2 secs but I can listen to him all day.

If you still have intonation problems maybe the bass is slightly out and that is accentuated by the foam.

This Vulfpeck track sound good (and in tune) to me, so foam is fine. I believe Motown tracks were recorded with foam and they all sound in tune to me. My experience back then was to always be asked to put foam in. All the tracks were in tune or we wouldn't have been allowed to keep them. The intonation will be OK, but you have to tune the bass [i]after [/i]you've put the foam in.

You can email him with specific questions and you'll get the facts. That should then put the opinions and supposition in context.

Read what Alex says about his gear on his website. That will tell you where these cabs sit in relation to each other.

[quote name='SpondonBassed' timestamp='1505284349' post='3370663'] I sympathise with those who get left out of the hitmakers' dividends when music becomes popular beyond expectations. It's only natural to feel slighted if you've been part of the creative process. [/quote] Happens a lot. In the US (and maybe else where) scientists etc used to get $1 when they join a company. That buys them out of ownership of anything they invent while they are working for that company. I read that Marconi didn't invent half the stuff he claimed. The guys working for him invented a lot but Marconi took the credit as it was his company. Session musicians in the US now do get a share of the royalties of the records they played on. The knife in the back for those guys was that they could only get paid if they applied and registered the songs they played on by a date and the weren't given much time to do that. So the disorganised ones didn't get what they deserved and the organised ones claimed and now get royalty payments. Maybe this is where the Carol Kaye vs Motown controversy comes from. Apparently record companies paid less to the musicians for recording demo tracks. I've seen that Motown were accused of using LA musicians to record demo tracks and then using the tapes as masters, so getting those sessions on the cheap. A lot of murky and probably unfair stuff went on back then. The session guys at Fame studios used to arrange the songs and come up with their parts, for which they didn't get paid. I'd guess Stax was the same. Artists and musicians were, and still are, at the end of a long line of people being ripped off in the music and entertainment business.