JTUK

I think subs are a bit more critical than tops in some ways. We tried some pretty flabby and unfocused units and they just sound like mush. Depends how you want to use it... a reasonable sub with good tops might just add a bit of depth and seperation which could be all you need for a pub or small venue. Subs are hard to demo but I'd be thinking 18" over 15" if weight and size wasn't an issue, but you still need to hear one. We brought a Mackie Thump on spec and it was a pile of poo... so we had to buy again... Not good.

I wouldn't rely on it, and not sure I'd take it as a spare but if it gets you out of trouble...as opposed to 'in it' then you pays your money........ An amp tech I use says they are cheap...we know that.. but share parts with quite a few other makers so it is problematic as far as the general QC goes...?? He says PV and Mackie are names that use the parts, amongst others.

[quote name='BigRedX' timestamp='1407762213' post='2523672'] Not at all true IME. Good construction and the right choice of string to match the bass a far more critical than an extra inch of string length. Any luthier capable of making a good sounding 5-string with a 35" scale length will be able to make one just as good with a 34" scale. None of the 35" scale basses that I've owned have had a low B that could compete with my 34" Gus, Warwick or Sei basses. [/quote] I'd agree. I'd even say that construction method is not critical..ie, Thru-neck over bolt-on, as both of my J5's sound very good to my ears. Any luthier who makes Super jazz 5's ( and most have to contemplate that model ) will likely be bolt-on.. as in Celinder, Sei and Sadowsky. However, contruction quality IS key, IMO. I always say good luck finding a great 5st for under £1000 and there is a reason for this, IMO, and that is because construction quality is more critical to get a great B string.

Any decent cab will reproduce a low B, IMO... the problem is the sound of the B itself, not the low register. Make sure the bass sounds balanced across the strings and there is where you need to put the most time and effort in making sure the bass you use can do this. Low B is critical... and you really really really don't want a fat undefined boom of a sound. This applies to the other strings as well, but you simply will not get away with it with a low B... it will dominate and curse your sound and band. I wouldn't use a single 12 or 210 at volume tho... but any 410 or 212 will be able to do it...IF you give it a chance with the bass.

Fully support cancellation charges as it re-enforces committment although how much you charge with how much notice is the key. I guess I would go with half rate within 24 hrs. And I'd probably be strict with a student if they made a habit of it.

[quote name='discreet' timestamp='1397630679' post='2425734'] I'm always up for P-Bass love! But the naysayers won't like it! [size=4] [/size] [/quote] A P-Bass isn't for me but there is a reason why they are pretty much the default bass for so many gigs. If you have a very good tone stack, you don't need active, IMO, you just need a bass that fills out and support the low end of the band. Many pub bands may go active... but they completely lose the ability to support the band sound-wise, so the sound is boxey. This might be rectified to some degree with bass through the P.A, but not necessarily. I blame active humbuckers or bass suckers... and their badly thought out execution. This low mid boxy sound sounds so flat and squeezes to band sound dynmaic range. Not good to listen and so wearing on the ears. Couple that to a poor sound flappy kit sound ... OMG..!!

But.... that is not what my A rig is for. If I want light and quick, the gig isn't that discerning, and larger stages shouldn't or aren't that AFAIAC.. As it happens, I haven't taken out my B rig for much of the summer... and it is so relegated that I may as well sell it.

I don't tend to do gigs where gear share HAS to be the thing and I am pretty confident that my rig will trump what else is up there 99% of the time in the event of a staged festival anyway, certainly for me... ( it is why I use it ) If someone asks, I will probably weigh them up there and then and decide, but they need to ask, and unless I know them, I am not looking to do it. However, since my bass playing friends tend to like my sound, I think I'd enjoy letting them use it ..but again, just because they like my sound, doesn't mean they will get one out of it. Good sounds come from the bass and the player, IMO, and a rig is just a way of getting that sound up in the most pleasing manner. It can't fix everything though

Not bad, went down a storm. We had two deps on the gig ...and it isn't a busking gig, IMO, but one was the old gtr so he had his stuff covered. The keyboard guy had 5 days notice to learn a set and swap out a few keys and did really well. We swapped around the stage set-up and the result was I was not near the keys and couldn't hear them as well. The new P.A aquitted itself well as we got very good comments on the sound and we played a lot quieter...so that means our regular keys is the noisey bugger... !!! Singer didn't strain his voice so all in all, we found out a few things that will be useful.

[quote name='Panamonte' timestamp='1407670821' post='2522736'] +1 I have a great time struggling to play some of Verdine's lines. The missus & I opened the dancefloor proceedings with Boogie Wonderland when we were wed. I busted some mighty fine moves [/quote] I think Verdine struggles to play some of those lines.... I not seen any shows online recently where he hasn't been miming the bass part.

The problem is, as far as I can see, that if someone takes a pic or video, they aren't controlled by the artist and it is quite possible that will end up online somewhere. This is the modern day we live in, for sure, but people spends £££ getting their product right and then someone will a phone videos the whole show...??? Some people didn't get the hint... it is a bit cheeky at the very least. Some artists might view it as decent promo, some might not... but the artist loses the opyion not to show his own product if deemed not upto scratch. I can quite easily see the artists saying too much of it and they will ask for the perpetrator to be ejcted from the show..?? Even on a local level, people might put stuff up online that we really wouldn't have ourselves... but it now out there.

Loved Stuff.... and Richard Tee was an absolute monster. I didn't think I would like them so much after I heard Gordon Edwards as I was looking/expecting a more a spectacular bass but you could argue he was the catelyst and got them all together as a house band at a NY club. Besides, they had so many front line stars, they'd have been no place for Will Lee, for example who along with Miller and Levin were probably the 1st calls in the NY session scene from whence they all came... not that Lee couldn't groove. I haven't had my turntable set up for ages so I can't listen to the vinyl but thank god for Youtube.

As far as I am concerned, if you don't know a product, then any reference is good. And someone has to start the first one... and then hopefully a few will give you a bigger better picture. I find the i-net invaluable as that kind of resource..

You read about so many issues with this model.... I suspect it can't handle much load variance but that is a guess,.......... that they should have withdrawn them ages. This continues to damage the marque even if they aren't the Ampeg of old. My amp tech has never rated them from a build POV, but I liked the core tone of the PF amp in a shop... Just wouldn't go anywhere near buying one though..

Now you've upset a few ... Don't you know you aren't supposed to post things like this... FWIW... and I don't mean to demean your experiment, but I don't know what you plugged into it and what sound you were looking at or wanted to hear.. bass-wise. I know what models you used but I don't know what sound you get out of them... I think the review was valid as it contributes and forms a body of reference but wouldn't be if read as a standalone. When I research cabs I get as many reviews as poss to get a general feel for the type of cab it will likely be, but I never know really, whose reference tallies with mine. In that sense, you might just as well pick a cab on tangible stuff like build/QC/looks etc etc Having said that, I'd NEVER buy a cab without hearing it.... just as I wouldn't buy a bass or amp without doing the same. Have to agree that BIG bass on a cab is a silly idea...far better to have a great tone than a lot of bass. People confuse tone with bass, A LOT, IMO. as a LOT of bass is going to obliterate a good tone.

From the videos here that I have looked at.. I'd start with Yolanda, she starts from a good groove POV and you generally need good technique to get very far with that. The one thing that could be a technical hinderance ...to a degree...is that women tend to have smaller hands altho that copier of PT lines gets round them pretty well on her video.

Both my basses are set up the same, they are both J5's with a little twist but they play the same, pretty much. The sound is the only real variation but they are both Jazzes... one has a vintage vibe and the other has a more Marcus Miller typical tone. The both sound great to me and I do have a starting preference but that may change due to one sounding better in that room at sound check. So, in taht sense they are a 'backup' bass..and not 'another' bass. I do exactly the same things technically and playing-wise on either.

No, because I have a shape of what the song is doing so all I need to do is think where I am going and I can do that in an instant, so everything I play is geared to what is happening 'now' and I react to it as I hear it. I might know the drummer is winding up to a big '4' and no matter he does, I'll likely get it. This is why you can be tight in a band in an instant ... I don't play parts as such, but we may well have determined the direction of the song so there is likely a precedent, so I am listening to what is happening, not so much what I expect to happen. Of course, they will be tried and tested paths but I don't enjoy an oblivious path ..and therefore a part, if I don't think it is working. It helps to have default, of course, but if no one else is playing it...or CAN play it, then it has little use... I tend to 'get' a song in the 1st bar and that determines the 'groove' for that particular version... If it works really well, I expect we will copy it next time.. Dep work works like this, IMO... you can't say I WILL play it like this when you don't know what the others guys references are, so you just know the notes and their place and you work to make it fit. If the song is busked... I'll just ask what key we play this in... check on the bridge or changes, and we are off... Less than 10 seconds and we should be sorted...if everyone knows what they are doing.

I like the idea of doing a stage check from a phone app........... Will have a look at the desks... altho they aren't really on the horizon as yet.

Rarely cool.... some work, most don't at all, IMO

[quote name='Bobthedog' timestamp='1407356081' post='2519812'] I am very much a learner, however, the three instructors I have used (different locations) have insisted I learn with fingers before moving to a pick. [/quote] Probably because they play that way themselves...( I don't know any pick playing teachers ) and are waiting to see what type of stuff the student wants to follow. I'd ask who/what they listen to and explain the reasons for starting on fingers and what is in front of them but if I wa convinced they wanted to play this stuff and liked that player, I'd advise accordingly. Depends how old they are.... I started with a pick as I was listening to that stuff... and then 3 years later, I swapped. I'd be aware that the student might do that as well.

Depends how proficient you need to be or want to be. It is a lot of work to keep up all these skills and I still think you will go with the style that suits the type of music you listen to and play. You'll spend as much time trying to get pick playing down as you will to perfect fingerstyle. You'll have a strenght and a preference but to alternate beyond a basic level.. and sometimes that may be all you need... seems to be splitting your practice times. How often do people practice and what do they concentrate on.. I'd agree that if a fingerstyle player, it might be nice to have a pick option but it isn't going to be that advanced, IMO..and therefore you might ask wouldn't it be better served getting the fingerstyle to do. If styles don't cross over... and one style IS better than another for certain genres, typically, then choose one as your default style... and use the other for basic non complicated parts. For example... solid straight 8's sound great on pick... harder to do on fingers really well, ( that in itself should be a goal ) and softer ballard numbers might need the gentle sound and strokes of fingers. As with all these things.... the limitations are with the player and how they hear/conceptualise things, IME. That is why I say you'll follow what you are most influened by.

I think DSP is a boon if you just throw the cabs up and self engr... but there is no substitue for an engr'd rig but that comes at some cost... financially and simply more faff and load. We went for a reasonably priced option that will perform well and have a bit of seperation with the subs... which should top our older default version of quality tops only. I think you have to gauge the level of upgrade with all the associated costs against the hassle of a pub gig. If you are doing dates...and getting paid for it...that justifies a 5-6pm load-in and sound check then you'll carry an engr and be set up for it..otherwise, you are looking at getting there by 7:30, using default settings and you're off. Having used a few quality digital desks recently...... I'd be quite interested in a smaller one. Anyone got a recomendation... it would need to store preset mixes etc ...or maybe be able to have them 'flown' in.

Most of them that I have seen do... in the form of a clip light and/or protection altho whether that is from input or output, not quite sure. You'd think DSP would control output. Will check my manual...

Because our min cost to the band is £270 and that is 5x50 plus 20 P.A costs. One or two pubs don't quite pay that but they are somethings we wish to do, so we are running those gigs at a loss. Then we have petrol costs that we need to factor in occasionally so we never really can get around to an equal split. We tend to treat it more like a wage...