chris_b

[quote name='BetaFunk' timestamp='1392907553' post='2374030'] ....In the 70s no one cared less about a bass made in 1960 and most musicians if they could afford it would have bought a brand new shiny 1970s one. All those vintage basses and guitars were left for the poorer musicians and the roadworn ones were placed at the back of the shop or refinished so they could sell them. Where did this mania of 'old is gold' come from?.... [/quote] Not true. By the end of the 60's the term Pre CBS was in common use to denote a bass of better quality and tone than was available from CBS Fenders. Those basses were very sought after and were unlikely to end up in the hands of "poor" musicians".

Vintage basses are like cars. Every now and then you find an ERA, SS100 or AC Cobra, but most are Bubble cars.

You can't EQ a ported cab to sound like a non-ported cab.

I have a lot of sympathy for backing musicians.... even though they are just that and will always be dumped by managemnt when the money starts to roll in. If that is a problem don't back a singer, join a band. Bass lines are just "arrangement" and won't get a writing cedit, no matter how creative you think they are.

[quote name='Cameronj279' timestamp='1392833892' post='2373294'] ....I'm in 2 minds about it because I haven't ever played a bass as nice as the Warwick but also feel like I haven't got my ideal tone with it.... [/quote] If you like it but don't play it, sell it. If you love it but don't play it, sell it. Just remember, everyone needs a backup bass. So you can keep it. ....and, fanned frets are easy to play.

2 gigs a monthy is a full diary? There are a couple of bands I left and shouldn't have. I'd happily go and see them but I wouldn't waste my time on the rest. +1 to never looking back.

[quote name='Torben Hedstrøm' timestamp='1392819561' post='2373062'] ...I mean, as I read from the Barefaced website, they are not making any actual groundbreaking discoveries.... [/quote] You don't have to invent anything in order to improve the bass cab market (although Alex's new driver seems to be pretty unique). As bass players we seem to have been happy employing less than optimal sound quality for decades. Barefaced and others are, at last, applying good audio design to the manufacture of their cabs. In comparison to many "high volume" manufacturers that really is the part that is ground breaking.

The Jazz bass was apparently designed for guitarists but the Precision? I think the Precision was pitched at upright bass players. When the Precision was released Fender was producing instruments for the Hillbilly and Folk and Hawaiian bands that were popular at the time. The Precision was needed so that bass players in bands could be heard above the steel guitars etc who were amplified by then. If your upright bass was louder and the notes could actually be heard (which they mostly weren't before) you would need to be in tune. A concept that some (many?) upright bass players back then might struggle with.

According to Bill Fitzmaurice (a BC member) there are some "high volume" cab makers who don't have an R&D department at all. They just hire in a designer, like him, who does the lot, not based on anything technical but on price. It would be hard for someone like Alex/Barefaced to not design something better.

A compromise is not always negative, ie cutting corners, but can be positive, ieabout choice. The choices a manufacturer makes will be obvious if you know the science. Cabs in previous decades were just boxes of speakers. The good ones today are tuned to the specs of better designed drivers which produce more volume and better quality tone out of (sometimes) smaller speakers. Your choice should be based on the tone you want. That's difficult to do at a distance so I'd start by looking at what your favourite bass players use. My recommendations for a big, clean, full toned cab would be Bergantino, Barefaced and Aguilar.

[quote name='JTUK' timestamp='1392739603' post='2372177'] ....We have had discussions with venues about paying a continued set as it helps us plan the show better but they want a break to maximise beer sales .... [/quote] I suggested this 30 years ago and several times since, but I've always been told to forget it! Unless you're playing at the O2, the reality is that anyone putting on a band usually has higher priorities than the music.

You'll get fluent in reading music by reading music. The more you read the better you will be, so start with simple stuff and move on in stages when you've mastered the level you're on.

I gave up playing for quite a few years. I sold my amps and cabs but it never ocurred to me to sell my Pbass.

[quote name='Torben Hedstrøm' timestamp='1392714675' post='2371802'] ....I am playing in a prog rock band, which requires alot of bottom end, and so far nothing short of a good 15" has been able to cope.... [/quote] I get more lows and low mids out of 2 Bergantino 112's (and now a Berg 212) than I've ever heard out of a 15". If you want "bottom end", I don't see the 10" adding much to your sound. I'd go for multiple 12's every time.

Tell your drummer he doesn't sound anything like Stewart Copeland. Anyway, now we've dealt with that problem; you should be trying to sound like [i]you[/i] playing a Police song.

[quote name='tonyclaret' timestamp='1392399742' post='2368311'] ....Anyone any experience of both or opinions.... [/quote] Don't ask me, I'm biased. I've been using a TH500 (EQ pretty much flat with a slight boost to the bass and treble) since March last year and I've just bought another as a backup. I'm an old fashioned player who prefers shaking the foundations with full, fat and punchy lows and low mids. This amp does just that.

[quote name='Japow' timestamp='1392660182' post='2371244'] ....what 5-string flats set would you recommend for the Lakland?.... [/quote] Hi, I still haven't got around to changing the strings, but the Lakland flats on my Lull would be a good place to start. They are Lakland Joe Osborn Signature, Medium, Stainless Steel, 45/65/85/106 and (I think) 125.

.... so you think Leo Fender had poor marketing advisors? That's a good one.

That's a wide selection of differing tones to have as a short list. I'd also add GK and Aguilar amps to the list, but I have no idea how you settle on a sound from that lot. The NV115's have very good reviews but don't seem to have set the world alight like the CN and HD series. Have you heard one? I'd also look at Barefaced cabs. A Big Twin 2 could take on 2 of the NV115 cabs.

Jean Genie.

Whatever this band was asked to do by the promoter/organiser, it would have been more professional to announce that they would be back in [i]xxx[/i] mins.

That combination wouldn't damage anything and would improve your volume and tone. I'd then save up for a seperate MB500 amp (or the Fusion) and sell the combo.

Being pedantic..... I get my gear set up and working how I want in the "line check" and set the balance of the band on stage and through the PA in the "sound check".

No 2's going to get fed up with travelling that far. Out of the two I'd go with No 1, but he has to be told that he needs to improve his tone and range. I'd keep looking and recall No 1.

The Pitchblack is easy to use, easy to see and accurate. I'd recommend it to anyone.