chris_b

I made a great sound through 2 Berg AE112's and 2 AE210's when I had my Staccato but now the Super Compact is on the market I'd go with 2 of those.

You don't need volume in the studio, so, if the tone is good, it should be fine as it is. Try it and see.

Go along to Bernie Goodfellow in Brighton. I'd get the frets checked out as well. If they need levelling no amount of set up is going to work.

Fantastic bass playing. . . . and isn't that an Overwater he's playing? Edit Listening to this for a second time, I could do with less of that shouty woman at the front and more bass.

[quote name='la bam' timestamp='1483567000' post='3208404'] I remember being 20 in the mid 90s when pub gigs and drinking was at its height. [/quote] Ahh. . . youth! You should have been there in the 60's, 70's and 80's. More gigs, girls and beer than was humanly possible to fit in. But we gave it our best shot.

[quote name='FinnDave' timestamp='1483567957' post='3208419'] I would, my first two cars were Morris Travellers. [/quote] My first car was a Morris Traveller. The Marshall 412 and 100 watt amp were a perfect fit in the back.

I just use standard tuning with a B string. I play across the fret board and mostly below the 9th fret so easier access to high notes isn't a priority for me.

I used to play through 2 2x10's. Easier on my back.

. . . . bloody Red House more like!!

[quote name='Dan Dare' timestamp='1483525262' post='3207831'] Remember you're part of the rhythm section, not a soloist. If people notice you, you're overplaying. Keep it simple. [/quote] I understand your point. . . . but, IMO there's a difference between over playing, being boring or invisible and playing enough of the good stuff to get noticed. Good bass players do get noticed for their bass lines and stand out because of their playing. We should all aim to be noticed and heard.

Hey. . . you're looking over my shoulder?!?

People hear thing differently, then explain them differently. I've never know what "dark" means. Players are also capable of not being able to get a good sound out of gear. . . then they're just as likely to blame the gear. This seems to happen a lot with 5 string basses. IMO woolly means lacking clarity, indistinct. Woolly seems to mean "vintage tone" to some.

[quote name='dmccombe7' timestamp='1483473319' post='3207489'] Loved the tone and that bass player was an absolute treat. Weird to watch but boy he could play. [/quote] Stan Sargeant. Plays with Al Jarreau and currently with Keb Mo.

Sorry for your situation, but as Dave says it's just stuff. When you're back on your feet there will be better stuff to buy. Good luck.

[quote name='blue' timestamp='1483468152' post='3207401'] Very true,the top teir musical communities are usually exclusive clubs and they never let outsiders in. [/quote] Don't I know it! You can sometimes get in if you're good at what you do. Talent and ability might get you through the door, if they see you play. . . but you do need that first break. This is why I'm always against the "no one ever notices the bass player" mantra. Every time you play a gig you're auditioning. You are putting yourself out there for others to see. One of those "others" might be a band leader looking for a replacement or somebody forming a band, over the years this has happened to me several times. You'd better make sure they are impressed because this could be your source of new gigs and the chance might not come around again!

This is very sad news. I only met him a couple of time but Vic was a great guy. Always friendly and always helpful. . . even after I'd been playing the same riffs for 2 hours comparing my Lull to a couple of other basses in the shop.

I've been turned down for bands because I wasn't the same height as the rest of the "vertically challenged" band members or as pretty, didn't look good enough in Spandex and once because I didn't want to cut my hair in a DA and quiff, but I've been turned down the most because of my age. The first time I was told "you're too old" I was 20 ffs!!

The last audition I did that got me into a band was in 1985. Since then it's been a long list of one door closing and two doors opening. Every offer to me for over 30 years has been by word of mouth. I don't know any bands that advertise for new members, so IME every new person is already known, wanted and has the gig before the phone call is made. That makes it extremely difficult if not impossible to be an outsider and break in to the local band scene. I usually get my deps from people I know or who know the guys I play with. For the few where I'm not known I'll provide Youtube's of me playing. Unfortunately that can be a double edged sword for an old git like me!

I see problems for bands and live music all around in the South East. The nature of entertainment generally has changed. There is a lot of competition for the pound in our pockets and the quality of live music is very variable. Attention spans are getting shorter. There is total access to music online so seeing a band isn't special any more. People are drinking at home, coming out later and spending a lot less in the pub. Audiences don't want to be blasted out of their seats by a loud unbalanced racket. Neighbours have total control and are using it to stop loud music. Most landlords and pub managers aren't very good at that job let alone being a good music promoter. A lot of the local gigs have either been knocked down as a result of huge town centre redevelopment or they're now Tesco and Sainsbury's Express shops. I don't see how it will get better.

There are many #1's. The better you do them the better you'll be as a bass player. Perfect timing, know every note on your fret board, serve the song, listen, be on time and "leave something on the table", ie add some original and unique lines to every song you play.

Love 'em.

Is this active? IMO flats are good on passive basses but waste the range and breadth of tones you can get out of a pre amp.

I have 4 amps: 2 Aguilar TH500's, a Mesa D800 Subway and a Thunderfunk 750. If something comes along that sounds better or has relevant options I'll try it. If it works for me then it will take over as #1. I bought the D800 because it was 2 ohm and the reviews were strong. It sounds very good but I still prefer my TH500 on the gig. I'll be selling this soon. I've had a Thunderfunk since 2007. First the 550 and now, for the last 5 years, a 750. It's so good it will probably be the last amp I own. It runs at 2 ohms, which used to matter when I ran a Berg 312 rig but that's not so important now with the Super Compacts. It sounds huge, clean, clear and full of tone. The TH500s sounded fantastic with my Berg's and are just as good with my Barefaced cabs. They are my go-to amps. Nothing has come close in the last 2 years. After 9 years of Bergs AE and CN cabs I've moved to 2 gen 3 Barefaced Super Compacts. Happy or what!! For me this gear has a synergy. It all works together so well.

. . . . I can't play 35" basses because I have small hands. . . . . I only have loss of hearing in one ear. . . . I don't need earplugs yet.