chris_b

Big drums, tuned down, not quite a detuned as Micky Waller used to go , but that's my drum sound.

Flea uses a lot of hammer ons and pull offs, so I guess your action could be too high? I've just had my Lakland "serviced". It was pretty good to play before but it's so much easier to play now. Look at getting a set up, and practice until to can easily play what you want to play.

"....from where I'm standing...." Which is OK, and the rest of the room is OK because he'd putting the bass into the DI then through FOH. His 210 is nothing like the 210 you're looking at. So you can't draw any conclusions. This rig could work out in the room but you'd only know by trying it.

A closed mind in music is a good reason to take up golf instead.

A comparison from the Barefaced website: [i]Why this rather than the much revered Compact? The treble is brighter and more audible around the room, the midrange has more punch and also has better dispersion, the lows are just as big but better controlled and less boomy. It isn't quite as loud with the volume knob in the same place but it has more power handling so you can turn up more and it'll play pretty much as loud, despite being a lot smaller.[/i] Sounds like the Super Compact is a good one cab solution.

As far as I understand, with generation 2 cabs the way to enhance the top end of a Compact was to add a Midget. They were designed to work together, but the gen2 and gen3 aren't designed this way so they might not sound how you would imagine. This combination might sound great but adding an incompatible cab can also take away from your sound. The 410/115 idea was born out of the limitations of cabs that were available in years gone by. I see your logic and it's the logic that has been used by bassists for years, but modern cabs are better designed and you can get more lows and low mids out of a good 410 these days than you could ever get out of an old 115. I'd suggest an email to Alex for some suggestions.

I'm not sure I see the benefit of running a Two10 and Compact together. Does this mean you already have the Compact? If you need more volume I'd just get another Compact. Drop Alex an email.

Sorry, but I don't believe any sane audience member "walked out of a gig" without hearing the band, because there were music stands on stage. It might make a good story, but I just don't believe it. As is being said, the band can be good, bad, professional or a bunch of amateurs, but there are far better ways of judging that band than their use of stands. Anyone who hates a band without hearing them isn't someone whose judgement I'll take seriously.

I know someone who recently managed a world tour for a band. Half the crew didn't have US work visas due to a cock up before he took over. They still did the tour, with visitor visas for the US, but my friend made himself very unpopular with the management company by insisting those guys couldn't do the Canadian leg because leaving and returning was the problem. They deferred to my friend in the end so i guess he must have been right. You could probably get away with it if you were just playing a couple of gigs in one city (I also know a guy who does that every year) but border control and the immigration service makes things much more complicated and if you get caught you will be deported and banned from the US. You need to Google some info and experiences about this that you can take to your singer.

It doesn't matter. He gets the royalties.

I think you get my meaning......

Joe Jackson played guitar on one number, except he couldn't play guitar. He made one chord shape and stuck coloured tape on the back of the neck where his thumb should go. He just learnt which colours came next. Moral of the story; you do what you have to do for the song.

I have never broken a string or had a bass fail on me in any way, so no, I don't carry a spare bass.

On Wednesday I'm gigging with a "power" Blues/Rock trio. We will be [i]very[/i] loud and I'll be taking 3 Berg 12's, 800 Thunderfunk watts and both volume controls will be set to at least 12 o'clock. I don't know if that will equate to 300-400 watts actual volume through the speakers but but the one thing I do know; Phil, I don't disbelieve your science but 1 112 wouldn't get anywhere close to the volume I'll need. I wouldn't even risk 2 12's at this volume. I know it's mad and I never played this loud when I had my Marshall and Hiwatt stacks in the 70's, but the one thing that I'm trying to do with this rig is be loud enough to keep up with the guitarist, be clearly heard in all parts of the room, keep a good tone in the process and be able to carry the cabs out of the gig at the end of the night. Parts of this rig are also used for gigging with an acoustic guitarist. Modularity is an important option with this gear.

You guys kill me; making up all these rules about when others should do this and then when they shouldn't do that.

There is at least one YouTube video drawing attention to certain similarities between several Led Zep songs and somewhat earlier songs.

I'll play the bass acoustically for as long as it takes to know if I want to plug it in. Most basses I try never get plugged in. Then I'll play something slow and tuneful. A number that's gives me lots of time to hear the qualities of the instrument and the tone of the electrics.

IMO it's neither a failing to use charts or an achievement not to use them. They are regularly used at all levels of professional musical performances. We had a no charts rule with the originals band, but apart from those guys I've not been in a band that has banned charts in the last 30 years. On the other hand, most of the bands I play in don't rehearse so new numbers can go better with charts. If you spend months in a rehearsal studio then maybe you should remember the set. For me they are a reference. Out of anything an audience is going to notice during the gig, charts are the last thing I'd worry about.

Yep, lots of raking but only down strokes. It's the extension of his DB technique. JJ's style has been analysed in the Standing in the Shadows of Motown book and by Bob Babbitt.

No he didn't.

There is nothing totally original in music. There never was. Everything is someone's take on what went before, on what their "heroes/influences" did. I wonder which side of this fence Led Zep were on when they wrote the songs that made their millions . . . . . .

Again, my 2p. You can't just play big or old gear and get a better sound. It takes more than that. You can sound just as bad with "old school" gear as you can with modern gear, and a lot of the "old school" gear guys do not make the most of their sound. Having good ears is better than having good gear. I've heard so many guys with vintage gear, thinking they are the mutts nuts because this what the original guys played, and they usually don't sound half as good as they think they are. IMO old gear is mostly just old gear. Most of the music played in the first 20 years of Rock sounded pretty average, so I don't get any warm feeling when I see old gear. The strength of back then was what the guys played on that gear. As the gear has got better the creativity of musicians has dropped off. But that might be a different thread.

I don't know what gear you're moaning about but if you think all speaker cabs are just boxes with speakers in then you haven't been keeping up.

[quote name='Drax' timestamp='1417820192' post='2624408'] .... Listenting to lines like that you really wonder how / why the 1 finger thing prevailed.... [/quote] It's comforting to realise that even geniuses have their limitations.