Paul S

[quote name='ezbass' timestamp='1330953978' post='1565214'] That Montrose album was great and supposedly the loudest piece of vinyl Warners had put out up until that point. I certainly remember it being loud back in my youth. I also remember them doing Bad Motorscooter and Space Station #5 on Whistle Test. Great band. [/quote] Brilliant album, laid the foundations for so many sound-a-likes - Rock Candy another awesome track. RIP. I didn't know it until I was chasing links on YouTube but he was in the Edgar Winter band for a period - some recent stuff on there at a local 're-union' gig.

[quote name='spinynorman' timestamp='1330897306' post='1564619'] One mistake I made at first was cranking up the bass on the eq and rolling off the treble. That does make it distort and disappear in the mix. Don't overdo the bass and bring the treble and mid up, then you'll be heard. [/quote] That was the exact same problem I had with my Ashdown MAG 210 combo. I favour a mid-scooped, rather bass-heavy tone and active basses - with everything up on the bass frequency it used to fart like nobodies business. Adding a 115 cab helped but I still found the tone of the MAG was missing a certain clarity.

As far as I can see there are so many variables that it is impossible to diagnose what is going on an internet forum. If it were me I'd take my bass along to the doctors, wear it as I usually do and see what he says. Neck width in particular is a funny thing and seems to defy logic - I have big hands yet find a skinny, shallow neck more comfortable. There are plenty of female bassists - I assume with much smaller hands than mine - who play 5 or 6 string basses which have much wider necks than anything I like.

I think my rig is sorted now - Barefaced Midget + Compact + TC Electronic Classic 450 (which I love!). I moved to lightweight from a classic era Trace Elliot rig and now don't miss it - in fact what I have now is a improvement. Before that I had an Ashdown MAG210-300 with a 115 extension or whichever way around the numbers go but it seemed to lack what I wanted. I did a gig where backline was provided and the Ashdown ABM rig available was a very different beast to the MAG - sounded great - but too heavy for me these days. All goes to prove it is very subjective. Sadly I still have endless curiosity about different basses. My current favourite is a Fender Precision Lyte fitted with a J-Retro, which nudges ahead of a Fender Power Jazz Bass Special only by virtue of its lower weight.

[url="http://www.ebay.co.uk/itm/Westone-Thunder-1A-Bass-Guitar-/280838281739?pt=UK_Musical_Instruments_Guitars_CV&hash=item4163441a0b"]http://www.ebay.co.uk/itm/Westone-Thunder-1A-Bass-Guitar-/280838281739?pt=UK_Musical_Instruments_Guitars_CV&hash=item4163441a0b[/url] Westone Thunder 1A BIN £100

My category was 'I don't really practice much, but I'm in two or more bands that play live' Ideally the 'much' would be replaced by 'enough' - I don't pick up a bass every day and feel I ought to.

We had an odd gig last night - The Bitter End in Romford. A freebie to get us into the soundman's books as he does a few pubs locally. We hadn't rehearsed for a few weeks and it showed - some terrible cock-ups from some of the band (even me, to my shame) - coming in at the wrong time etc. Then again, some of the set was extremely good, as well as we've ever played, inlcuding a couple we haven't gigged before. Funny that. Anyway, no-one seemed to notice the cockups, the soundman was very complimentary and booked us for two more gigs at other places. But - my first gig with my complete rig of Barefaced Compact with the newly acquired Midget. Raised off the stage on a couple of milkcrates - sounded absolutely superb.

Maths aside, an Ashdown MAG C410 T 300 Bass Combo should be more than loud enough for any pub gig on its own. I had a 210 for a while and volume was one thing it never lacked. If you are finding it isn't loud enough there must be other issues going on that are clouding* the picture - either positioning so you can hear it, eq set up, even a fault. * note my restraint when avoiding of the word 'mud' or 'muddying' when discussing MAG series Ashdown...

I would strongly recommend trying the various small amps before buying if at all posible as it is extremely subjective. I tried everything in my price range with the intention of buying an Orange Terror Bass but ended up with a TC Classic 450 - a toss up between that and the Genz Benz 6 shuttle. I opted for the TC in the end because of the Tube Tone and Compressor, both of which are extremely useable. Others indicate they don't like the sound - as I say, very subjective. And welcome to the Barefaced club. They are worth every single penny IMO.

I weigh 15 stones, approx, and have been known to stand in the middle of my Hiscox case with my beloved Fender Power Jazz Bass Special inside to demonstrate how tough they are. Really great bit of kit. That said, I've never seen the other one in the flesh, so can make no comparisons.

I've had a BF Compact for a while now and recently added a Midget. Amp is a TC Classic 450 which is to my ears about as loud as my old Trace Elliot 300W head. I play in two bands - one is a light pop-rock thing, the other a heavy classic rock band. Same drummer in both and he is loud. PA is used for vocals or very occasionally guitars go through too, never bass. Either cab on its own is plenty loud enough with the amp on or below half (4/10), just a different shape to the sound. Both together is perfect balance of sound and usually volume 3/10. I can't imagine a scenario where this combination isn't going to be more than loud enough - if it isn't then it will be going through the pa anyway. From now on I will be using the Midget for rehearsing - no-one in either band can believe how loud or good it sounds! not a hint of farting despite favouriing a bass-heavy setting. Both cabs for gigs. Compact is 12kg, Midget is 9kg. Classic 450 head about 3kg. For me the ultimate rig in terms of tone, portability and versatility.

Another vote for Westone. I have played a Spectrum, which was nice, and owned 3 Thunders, all of which I preferred. The Thunder 1A I had was absolutely superb, just a real shame that they are too heavy for me to wear for any length of time now as I would use one all the time. I still have a pimped Thunder Jet that I use regularly as it is pretty lightweight. I also owned a Squier VM Jazz fretless for a while - it was nice but never quite felt like the same quality as the Westones. I really do think a Thunder 1A bass is the best value for money out there on the secondhand market. Necks on these are really good - slightly wider than a Jazz but a comfy shape, 40mm at the nut.

I had a T Bird with this mod done and it helped the neck dive considerably. The only down side is that it tilts the angle of the bass differently so it faces away from you - took me a while to get used to it as I prefer to glance down at the fretboard from time to time when playing. Made worse by my protruding belly, it has to be said.

'Classic' era Trace Elliot stuff was covered in Tolex - I can't see it is going to be a problem.

[url="http://www.thomann.de/gb/rockbag_rb20501b_steinberger_bassgigbag.htm"]http://www.thomann.de/gb/rockbag_rb20501b_steinberger_bassgigbag.htm[/url] I bought one of these. Not expensive.

One of my bands had a girl drummer for a while, bit of a ladette, and all this stuff was obligatory when setting up. She'd start by asking if I'd got my Big Muff out, I'd ask her the same, then always told her I preferred a Big Muff to a Fuzz Face and it went downhill from there usually. She was my wife's line manager at work, so just idle chat.

I typed them with a straight face, too.

[quote name='molan' timestamp='1329658181' post='1545387'] Honky Tonk Woman - a great groove with dynamics brought up & down between the initial verses & choruses by simply not playing any bass. When the bass comes in it's such a simple part. Last night the bass was played all the way through the song with many more notes than old Bill W ever played. With the whole band going hell for leather through the entire song it just seemed to lose all the feel. [/quote] Strangely enough one of the worst renditions of this I have heard for a long time was by Bill Wyman's Rhythm Kings. He played bass in it from the first chorus onwards and nearly all the band was there there whole time. I think this is a classic example, though, of less is more, along with the other perennial, ahem, pub band favourite 'All Right Now'.

Funny thing - you were such a keen advocate of the Jaguar, which was so complicated I'd swear they got the controls designed by NASA, but have pretty well gone full circle to one split pup and simple controls. I have to say I am following in your footsteps to an extent and don't miss my Jag. Although I still prefer an active bass, I'm preferring a single pup. I have a couple of P/J configured basses but only ever select the P pup.

It seems such a shame - this one was of the few bands I'd listened to on here that really seemed to have got something unique going and with a promising future. You were so proud of what you had achieved with them, and for it all to go tits up like this is not good. But I guess that is rock and roll - it isn't just the rich and famous that fall foul of personality clashes. Any feedback from other members of the band or is it one Lord and Master who tells everyone what to do?

[quote name='dave_bass5' timestamp='1329650048' post='1545248'] Happens to me quite a bit. This then makes the song "our version", which to me means its a cocked up version that hasn't been re arranged, its just that someone couldn't be bothered to learn it and so we all have wasted our time [/quote] The 'our version' chestnut! This used to bother me with a band I was in. The keyboard player always trotted that out as an excuse for not learning the part properly or not being able to do it properly. You end up with a set full of homogenised junk with all the highs and lows knocked out of it.

I tend to stick to the original line but very occasionally will change one. Two examples 'Brown Sugar' - practically every version of this I listened to had a different bassline, so I ended up making one up that included bits I thought were relevant to the song but missed by other instruments in our band. 'Aint No Love' by Whitesnake (itself a cover). I love the track, a really soulful number, but hate the original bassline that wanders about constantly providing no groove whatsoever. I play a much simpler version that I think holds the tune together much more effectively.

This one? [url="http://basschat.co.uk/topic/154759-how-do-i-get-this-finish-on-mahogany/page__view__findpost__p__1372796"]http://basschat.co.uk/topic/154759-how-do-i-get-this-finish-on-mahogany/page__view__findpost__p__1372796[/url]