chris_b

I believe Mesa controls the pricing pretty tightly, at least they did when I bought my Mesa 400+ about 20 years ago.

[quote name='CameronJ' timestamp='1497961784' post='3321627'] Unless of course the sound guy was genuinely terrible and a d*ck [/quote] They do crop up. Maybe it's luck but in many years I've only ever encountered 1 totally incompetent sound engineer. Unfortunately, if you're unlucky enough to bump into one of these guys there's not a lot you can do about it. For your own satisfaction you have to make sure that, whatever happens, you're going to be the absolute professional to the end.

With the light weight of these cabs. . . there probably is no reason or advantage to adding bolts.

I don't do multi band gigs, but on a festival, I meet the sound guy and introduce myself, get his name, shake his hand and have a chat about the sound. I have great DI's in all my amps. I give the FOH post EQ. I have never had an issue, problem or confrontation with a festival sound crew. I always thank the guys after the gig.

There are sought after versions of Strats and Les Pauls that have been up around this level for years. About 10 years ago we did a gig for a corporate lawyer at his house (we set up in his ballroom) and he showed us his "collection". A room with about 40 collectable and vintage guitars set up on stands and many more still in their cases. He reckoned it was all worth about £10 million. "Collectors" work to a completely different set of rules.

[quote name='neilp' timestamp='1497872332' post='3320954'] With regard to upgrading amps/cabs, to what end? [/quote] The end that, while you seem happy about all your gear and sound, you still seem to want to buy "something" more. Rather than us throwing suggestions around. . . what problem have you got that you think more gear would fix?

I was told I had to DI on one gig. When I got there I discovered it was to keep the neighbours happy as the gig didn't have a music licence!

[quote name='mcnach' timestamp='1497875409' post='3320998'] One thing about the D800+ is... you'd expect that if they give you a carry case for it, they would give you a decent one especially for the price. The case is very thin and the handles don't inspire much trust, even if the amp it light. [/quote] I use one of these for all my D Class amps. . . . http://www.maplin.co.uk/p/flight-case-with-foam-n70ap .. . . make the hole the size of the amp and there's all the protection you need.

In the US you know you are going to sell hundreds of units so you can price accordingly. Unfortunately, over here, you're going to sell a couple of dozen units. Economies of scale don't work as well at those levels.

[quote name='ivansc' timestamp='1497853678' post='3320806']Any suggestions. . . . ?[/quote] Turn up and play lighter, take the action up and carry on or, as long as it works, don't worry about it.

She's learnt to [i]interpret[/i] music from the dots. In a musical sense these guys are extreme athletes. They are very talented but they can only expresses what is written. If you tell someone who has had this training to "make it up" they can't - because they have never been trained to do that. I used to know Stephane Grappelli's drummer and he (and the band) used to dread the gigs when Yehudi Menuhin used to get up and play, because he couldn't play with them. They had to play with him and it wasn't Jazz. He was in perfect time, which ruined everything straight off, then his "solos" were all worked out and, while being musically perfect, sounded terrible with no feeling and no swing.

[quote name='chris_b' timestamp='1497862066' post='3320859'] . . . . but maybe a pedal(s) would be more flexible and a bonus would be the extra sounds that will become available.[/quote] Carrying a pedal would make you independent of the amp for your sounds. You could then change amps without affecting how you sound. Edit. . . . I see we're all thinking along the same lines here.

In a multi band environment, it's entirely reasonable for the sound guy to want to simplify things. The speed of change over will always be what he's judged on by his boss and probably the audience. He'll be used to working with some dubious characters who don't have a clue and just want to make noise. So of course he'll want to minimise any stupidness. It's also right that you fight for, and achieve, your sound. IMO either of your options (pedal or post EQ) would work and I don't believe that either would cause the sound guy any issues. Can you try these options at rehearsals and see which one you prefer? The post EQ DI (the post DI button) requires no extra equipment so would be my preferred option but maybe a pedal(s) would be more flexible and a bonus would be the extra sounds that will become available. Edit for spelling

Deps will probably use charts and regular players may or may not. It isn't about good or bad, better or worse. The difference is rehearsals and band policy.

Better basses? Mike Lull, Sadowsky, Lakland, Shuker, ACG, Overwater. But really it sounds like you're bored. . . . do you gig? You've got a bass you've loved for 30 years and a Wal. . . . apart from a Precision you don't [i]need[/i] another bass. Looking at your sig, though, I could suggest upgrading your amps and cabs.

[quote name='scalpy' timestamp='1497783256' post='3320511'] . . . . But throughout he's got the band by the balls. . . . [/quote] Jamerson was so good he had the whole Motown organisation by the balls.

Not a dilemma for me. The sound of my Lull PJ5 improved 200% when I changed from rounds to flats. Now using TI flats. The sound became fuller and fatter with more heft (oh yes). There's no going back for me on this bass. I play all sorts of covers and genres and the sound of this Precision has worked for every style I've been asked to play in the last 5 years.

You're right. . . Martin Cohen.

[quote name='SICbass' timestamp='1497629416' post='3319667'] A few years back I played on a soul review backing her. You get the charts at the one rehearsal with her. [/quote] I believe a guy called Martin Cohen used to/still does/usually played the Motown gigs in the UK. Not sure how many he does these days. Great player and could read anything straight off. About 20 years ago he tried to muscle in on one of my bands. Luckily he was so good, the singer was too scared/nervous/intimidated to work with him and I kept the gig! Fortunately, for me, I don't scare anyone with my talent!! Edit. Corrected name

[quote name='DanH71' timestamp='1497610495' post='3319448'] so if i use connectors, do you know any that are appropriate? [/quote] There are lots at B&Q and Screwfix, or any electrical shop you can find. The smallest ones would probably fit in the space better.

For a number of years JE lived over the road to me in Corringway, North Ealing, London. His American car was so long that when it was parked in his drive it hung over the pavement by a good 4 feet. He also pushed the kids up and down the road in a big pram still in his cowboy boots and long tasselled leather jacket. A very incongruous sight. Before that I believe he was in Gunnersbury Avenue.

Where are you based?

If you want an overdriven sound, why not get this from a pedal?

My preferred setting is. . . . as low as it goes without buzzing. Whatever that is. It'll probably be different on each instrument. I have 4 basses. 2 were Pleked when made and they are still very good. I've had the frets levelled on the other 2 and the action is even and now lower than they could have gone before. All 4 play beautifully. If the action is too low for your plucking technique then you'll compromise your tone. Very low needs a very light right hand technique. If you hit harder the strings will have to come up.

[quote name='fretmeister' timestamp='1497599917' post='3319308'] An orchestral performance is 90% listening. Movement would detract from the performance. [/quote] Plus they'd all keep falling over each other.