chris_b

Best wishes to all. Here's to a busy gigging 2022.

On the other hand, I don't understand why you would decide to stop writing songs at a particular point in the calender. Chis Martin and his missus do seem to make more than their fair share of illogical statements.

I'm not a fan, but I don't dislike Coldplay. I have nothing negative to say about them. I've played several of their songs in cover bands and they always go down very well. I applaud any band or musician that is this successful. Good on them.

For 25 years I was playing a Fender Precision with an A neck. I had no idea it wasn't a "proper" Precision neck until the Internet came along! For the last 25 years I've been playing 5 string basses, all apparently just under 2" wide. I've never bothered to measure a bass neck until threads like this started up. We're all different, but looking back, going from very thin necks to extra wide necks has not been an issue for me.

Between a 4 and 5 sting the wood is different, there is more wood on a 5 string bass. The mass of almost every component is different, from the bridge to the tuners. A musical instrument is all about vibration and resonance. Anything that changes those parameters, will make a difference.

The bass run up is driving you mad? Don't play it. It's not an important part of the song. All you need is an occasional A C C# run up to the D.

In: a lead (OBBM), an amp (Bergantino), a battery (Duracell) Out: nothing

I believe they are nickel plated, with hex core.

So you're warning us about running an amp at full power, not at half power.

I've got 3 year old D'Addario NYXL nickel rounds on my Jazz. They still have a little top end left and were sounding pretty good on last week's gig.

With the volume controls between 12 o'clock and 2 o'clock?

It's so difficult to quantify "loud". Lozz plays Punk so I'd go with his definition of "loud". My "loud" always required 2 210's or 2 112's and at one point 3 112's. My rule of thumb, I'd expect 1 BF cab to cover 2 cabs from another manufacturer.

I's agree with Lozz, 2 210's would be ideal. Then you can use 1 or 2 depending on the situation. I haven't seen the Hartke cabs in use but my Barefaced Two10 was as loud as some 410's I've heard. I'd suggest starting with a Two10 and look out for a second in the classifieds.

Last night we played at a large club. The band are pretty good with isolating and taking care, but I was a bit apprehensive, all those people in the room. When we got there only about 1/3rd turned up. Excellent. I never got within 20 feet of anyone all night.

I think every cab I've had since the 80's has been ported. I don't really think about it. If the cab sounds good enough porting isn't a question that springs to mind.

I don't know anything about them, but the La Bella black tapewound I had on my Rob Allen bass sounded and felt very good. Anyone else had experience of these?

Ah. OK, so the master anywhere up to about 2 o'clock should be safe. I reckon the sound will make you proud.

Tuners and good straps.

another bloody double post!!

I've assumed the cab is the 8 ohms version. Can you confirm that? If the cab is the 4 ohm model you will be able to pump 440 watts into it, which might not be good. I rarely push my 500 watt amps past 12 o'clock, I'm assuming you won't either. In that case you'll be putting approx 250 watts into your 115 which should be fine no matter which version it is.

The Glockenklang web site rates this cab as 8 ohms and 300 watts. If that's right, then your amp is 250 watts into 8 ohms, so you'll be fine. Another cab will push the amp to 440 watts into a cab total of 600 watts at 4 ohms. In either case, unless you go really mad with booster pedals, I don't see how you could damage the cab.

What cab is it? If the cab is rated at 300 watts I'd wouldn't expect to get more than 200 watts of clean sound out of it. Probably less, depending on what cab and drivers there are. Depending on your band, 200 watts could easily be enough.

You could try Carol Kaye's approach, threading felt through the strings.

At the risk of sounding very sad. . . . I've tried several, even cutting up a Spontex washing up sponge. That might have sounded good in the studio, but IMO it killed too much tone for a gig. For me, soft foam is the best.

Learn your scales and use those notes to construct pathways between chords. As you get better you can get more creative.