chris_b

Dave, Is it not working with your CN212?

I wish my luck had been half as good! Also the new band allowed Cristine McVie to grow as a song writer. I agree that Little feat suffered a massive hit when LG died, but the Craig Fuller years are my favourite LF line up.

You could say the same about The Band, Little Feat, Genesis and Pink Floyd. When your main writer leaves you either give up or find a different way forward.

[quote name='tedmanzie' timestamp='1394312776' post='2390272'] ....what more could you want!.... [/quote] Another GS112. Then you'll sound even better.

Why buy an amp which has inferior sound? That's one trend I won't be following.

I have regretted [i]not[/i] buying something (like the 5 string Wal for £700 and 1968 Fender Jazz for £100) but I've never regretted selling anything, even the stuff that sounded great, because it was always replaced by something better.

What music do you play and how loud do you need to be? Most of the lightweight cabs being built are 12's, but if you really have to have 10's the first thing I'd do would be to check out 210 cabs and get 2 of them. I did that when I got my 2 Bergantino AE210 cabs and they were fantastic. IMO if a bad back is the reason for going lightweight (mine is pretty bad) then there is no 410 light enough. In the end I found that 12's were lighter so I switched to using them. These days I'm using a Bergantino CN212 (with a folding trolley) which is loud enough for most of my gigs. I'd also check out the Barefaced 112 cabs.

On my recorder. I'll be watching this next week.

I went from 2 Bergantino AE112 cabs to a CXN212 and the improvement in tone was subtle but still there, so it was a good move for me. Streamliners are reported to work well with the CN cabs. I haven't heard any GB cabs so I can't comment on those. It's a bit of a trek for you, but I'm playing in Weybridge on Saturday if you want to hear a CN212.

I used to play my Lakland 55-94 on every gig for about 7 years then I bought the Lull PJ5. You couldn't find 2 totally different sounding basses. On the first Lull gig I asked the guitarist what he thought of the new purchase. He said it sounds good but it just sounds like you. I was disappointed at first that he couldn't hear how wonderful the new bass was, then I realised it was a big compliment to me. I know that I'll EQ any amp and bass to sound pretty much the same so saying, "it's in the fingers" is just a simplistic way of including the ears, the brain, the whole person.

I've been using proper Dunlop Straploks, not the plastic ones, for 25 years. Never had a problem. If you can find Allparts Straploks they are Dunlops at about half the price.

An interesting point from S1m0n at one of the Bass Bashes; "Who's paid a thousand pounds for a bass?" Lots of hands go up. "Who's paid a thousand pounds for their amp?" Quite a few hands go up. "Who's paid a thousand pounds for lessons?" Silence. My take on this is to buy the best gear you can afford and forget about it. Then you have to start on the most important part of getting a good sound.... you and your technique. I think there are a lot more of type1’s out there, but they are the guys who don’t worry about gear and don’t post about it. They just concentrate on what they are playing. Slimmer’s want a pill rather than eating a lot less calories. Some people think that gear on its own will get them a good sound. An average player will get a better sound with good gear but you can sound good on average gear if you play it right and your technique is good. All IMO, and I nearly forget....... I've been very happy with my sound for the last 20 years.

[quote name='KevB' timestamp='1394111338' post='2388014'] Still no set list in my lot despite me bringing up the subject a few times. Just a crappy scrap of paper of potential doable songs that the singer chooses randomely from how he feels fit. He's clearly not 'reading the crowd' which is what he always comes up with as the reason to not generating proper running orders and all it does it put the guitarist on the spot when he calls one out that he then has to change a few pedal settings for. Glad I'm not using effects or my midi pedals, I'd have walked long before now. [/quote] Sorry, but I love bands like yours. It makes us look so much better. Promoters do notice these things.

[quote name='wombatboter' timestamp='1394097709' post='2387819'] ....still find it hard to believe that they didn't notice that Rainey was playing slap. Becker and Fagen never missed anything so I doubt that something prominent like that would pass their attention.... [/quote] +1 My view is that they didn't miss it but chose to ignore it because, grudgingly, when they heard it they knew Chuck was right and they were wrong.

So all amps should be run at 8 ohms? This is not true. It is perfectly safe to run an amp at 4 ohms. I don't advise anyone to run any amp flat out because they don't sound very good if you do that. I don't run mine over about 6 on the master volume, but new amp owners should know if an amp is designed to run at 4 ohms (and they all are) it is perfectly safe to do so and they will not shorten the life of the amp running at 4 ohm at a sensible volume.

I've got the Peter Gabriel program on making So, with Tony Levin showing how he played Sledgehammer.

John McVie was playing on the first gig I ever went to.

[quote name='Samashton12' timestamp='1394019464' post='2386919'] ....Last gig we played was a charity gig, didn't really matter what we played.... [/quote] I understand what you are saying, but my bands would adopt the same attitude to a gig if it were the Albert Hall or a "no pressure" charity gig. People see you playing and make their minds up based on your performance not on the circumstances of the gig. You should always play like Michael Eavis is in the house looking for a Saturday night closer for the main stage for next year.

Tort is the best on any bass. The real question is, why isn't it a 3 tone sunburst!

There [i]are[/i] "rules" for putting together a good set list. Unless you are very good or have a room full of diehard fans don't start the night with a slow number. Don't finish the set with an instrumental. If you have a hoard screaming for an encore, make sure you finish with enough time to do 2 numbers, a 3 number encore is even better. The numbers should flow. Keys aren't as important but never have 2 numbers together with the same feel. If you only have 2 slow numbers, don't put them together in the same set. Start the night with your best number. End the night with 4 or 5 numbers leading up to a great last number. As always, this is rock and roll and rules are meant to be broken, but a good set list must have a shape, pace and structure. If you really are stuck, use the last set list as a starting point and make any changes you feel would benefit the new venue. [size=2] [/size]

I think it's pretty difficult to get a bad sound out of Bergantino cabs. Good move.

I'd have kept the speakers and the amp (for your Fender gigs) and added another amp to the collection, such as the GB STL 9.2. I think the Genz would work well with the "darker" Warwick sound.

Don't flats just work? I changed the strings on my Pbass, didn't touch anything else, and it just sounded great from the off.

Last year according to the thread on TB the revisions had got to H (that's 8), so I as someone stated 10 earlier in this thread I accepted that there had been a few more. Even if it's half that number the amp's not reliable enough for serious gigging, in my opinion as a serious gigger.

....and how is that relevent to this post? Everything can break? Sure it can, but the post is about stuff that breaks a lot and my reply was about stuff that hardly ever breaks!!! For example my SVT3-PRO, used weekly, ran faultlessly for nearly 10 years until I upgraded.