chris_b

These are Barefaced cabs. The 110 "can run at 250 watts all day". I doubt this little cab will be a weak link in any signal chain.

The best fretless bass I ever played was a Rob Allen MB2. Simply the best fretless sound I've heard on an electric bass. The Godin or Rob Turner Renaissance basses are pretty good too but IMO the Rob Allen is the best.

If you can see the benefits of playing a 5 string bass and can make playing one work for you, I'd go out and get the best one you can afford. I'd recommend you try Mike Lull and Lakland basses. These instruments improved my playing no end.

IME 2 SC's sound fuller, fatter and a lot louder. Same as Paul S. . . . I could use 1 for most of my gigs but 2 just sound (and look) better, IMO.

I always use my SC's louder than I think I should. I've never been asked to turn down. I played in a beer festival Marquee on Saturday and was asked to turn up. I thought I was loud but the volume out in the audience wasn't. I cranked my Mesa D800 and 2 SC's to 12 o'clock on the gain and master. Apparently it was just right. I'm getting better at finding a balance with my new SC's. They sound very different to my Bergs but I'm getting there.

IMO to have "shaped modern music" you have to have achieved more than being a good player or having been in a famous band. Willie Dixon, Paul McCartney, Larry Graham and James Jamerson are the only bass players I know, of either sex, who could claim to have actually shaped modern music.

This is happening more and more. I think this only affecting the larger chains. We were told it wasn't about the bands, but their brewery found out that landlords were invoicing them for gigs which had never happened, so this is trying to tighten up on cheating landlords. So far our decision has been to not do these venues but the gig world contracting at the current rate we've decided that it would be stupid to reduce our list of gigs even further. We'll be invoicing where we have to.

The football, the boxing. . . everything stops for bloody TV. We've just rescheduled a November gig because of a football match.

Some Motown tracks were recorded in LA. Some then had the bass lines over dubbed back in Detroit, by James Jamerson. Some were recorded as demos (the players got paid less for demos) and they say that some of the demos were then used as masters. A lot of tracks were re-recorded for different artists, album tracks and live shows. Some of these sessions were well documented and some weren't.

I'd get the MB Standard 102HF. Bigger than the Traveller cab. . . and better tone.

That's par for the course Isn't It? Even the best players seem to have their flaky side. I turned up to a recording session yesterday with the 2 numbers under my belt, only to find the others had been working on different numbers and they hadn't bothered to tell me. I asked for a set list on one dep gig and was told, "The guitarist starts a song and we just follow" and when I asked again, "I thought you were a professional." I declined that gig. I've seen more, self centred, unreasonable and selfish idiots in management, so very little surprises me any more.

Elkie Brooks and Robert Palmer. Howlin Wolf and Bette Midler. Joe Cocker and Mavis Staples. The list is endless.

I've got 2 of those this weekend. 24 numbers from one band and 21 plus an unspecified number of "rock and roll" tunes from the other. I have set lists from both and mp3's from one, as there are 7 originals. I'm making charts for the numbers I don't know and notes for the numbers I've heard before. With only 3 days notice I'm not learning the songs, but, with the paperwork, will easily be able to play them by the weekend.

In both bands, the band leader books the gigs and we use a dep for anyone who can't do the gig. Everyone is in at least 1 other band so deps are no problem for us.

[quote name='Nicko' timestamp='1453124946' post='2956546'] Mine are set to off as I've never found these add anything to my sound. [/quote] +1 I used an LM2 with Aguilar GS112 cabs and then Bergantino AE112 cabs and I had both filters switched off. I thought the LM2 sounded great without them.

Lots of 50+ saying age doesn't matter. . . . . . . . . but big silence from everyone under 30!

I used to answer ads is Melody Maker and even back then age was always [i]the[/i] deal breaker.

What a beautifully musical player.

I have a pretty terrible track record when auditioning. I don't do many but even so the last one I passed was in 1985! Since then I have got into every band through recommendation from people I've played with or those who have seen me play. As Blue says, most "good" bands and those who are worth playing in don't advertise. No band I've been in has ever advertised. There is always a friend of a friend. I dread ever having to go to the "market place".

[quote name='Philverado' timestamp='1458255615' post='3006155'] I really want just warm, rounded and louder. [/quote] You need to try an Aguilar TH500.

[quote name='jaakkeeeeeee' timestamp='1458559527' post='3008508'] I have two SL112's. I use Sandberg California TM5's. I have run other amp heads through the cabs and found what I was looking for but seems to struggle with the TH. Maybe I am just picky! [/quote]i But you identified a problem with the 5 sting bass! If a 4 string bass works and a 5 string doesn't I'd be looking at the bass or the EQ. Have you tried other 5 ers through this amp?

I think it's a jolly pop song. I've played it before and audiences like it, a lot. Any song that causes such a positive response would always be on my list of songs to do. I don't see why people should rant about songs they play in cover bands. Every song you play to an audience should be your best performance. A cover band isn't about personal favourites, it's about the business of entertaining an audience.

No issues with my 5 ers, What basses and cabs are you using. My TH500 sounds great with my 5 string Lull PJ5 and Lakland 55-94. This amp sounds perfect with both my Berg CN212 and Super Compacts. I'm A/Bing it with my new Mesa D800 and so far it's ahead by a fag paper.

[quote name='CletePurcel' timestamp='1458392515' post='3007198'] My question is should I really do this memorisation and playback or should I concentrate on trying to feel the patterns and scales associated with the chords? I guess my question really is as a beginner will it all gel at some point down the line or should I put the more tedious work in now on making sure I understand why the notes are written along with each chord. [/quote] You do both. Put in all the tedious technical work now and work on being able to "feel" at the same time. You also have to change your focus and thinking so you're not a guitarist playing bass but a bass player. Many if us start out having to learn everything at once. we have to learn how to make music, how to play an instrument and how to play with others. Surely as an experienced guitarist, you've already done the groundwork. Playing with other musicians, the music, notes, chords, modes, scales and timing doesn't change. Now you just have to adapt what you already know and how you play it and expand on it as a bass player.