JTUK

I've tried that bass ( in BG ) and it really is a specialist fit, IMO. Can't argue with the build but you would have to try it as it is such a departure from the norm..even in terms of how everything falls to hand. The good thing...for many people, is that it is not a slap bass... so the perfect bass for a shop to stock, maybe..!!!

Not sure if throwing in other suggestions is useful, but the best two..or rather, most immediately fanciable rigs I've tried recently have been the Portaflex rig and a TH500 +Berg CN112 config. Outside what I am currently running, of course.. Both were very nice straight in...with the same bass, but not side by side. The Ampeg was warm and focused and the Ag/Berg was a tad less warm and very straight and not unlike the big Aguilars. Couldn't pound either so not quite sure how they would amp up when pushed and I think the Aguilar would behave better in that regard. Having said that... I never have any problems with a Markbass 102 combo at low levels either... and better than the 12/15 versions, IMO. The amp gets harsher when pushed, but the cabs out front are loose ........maybe this is designed to compensate..??? No problems if you like or want that.

Another vote for big heavy power stages in the amp. I understand the attraction for less weight in bass rigs but they come up short for me.

You might want to to check what gtrs they propose to use... depending on the parts of course.... But two roaring humbucker types is tough to take.... and that would take a LOT of effort to make it work and not be a PITA for everyone else..

It is all about the fill and how you approach it. Personally, I think gtr and keys do it so not really interested in 2 gtrs but if you do go that route, they have to see the bigger picture...and you may have to have the balancing act worked out before hand. I'd audition each gtr as lead and 2nd gtr and would want both gtrs to do both. Unless the 2nd lead was a great vox, and that was his thing, he is going to want a solo at some point.. and the lead gtr is going to have to give it to him.. So, any signs of blitzing over the other's parts means they aren't suitable... To get one gtr who has his ego in check and is senstive to others is hard enoughj....2 ..????? It can work, but both need to know and understand..and be happy... within their roles.

[quote name='Lozz196' timestamp='1377935061' post='2193692'] That`s a view which differs greatly from mine JT, but then I suppose it`s the old horses for courses. To me Markbass sit in the mix in exactly the right place, never screaming out "look at me" but producing a clear yet strangely warm sound that provides a great foundation on which the guitars can sit. I think I know what you mean re the focused thing though. Our other bassist has a Trace Elliot amp, and with both amps flat, his is much more focused to a specific audible area, much easier to hear at the same volume. The way I`d describe the difference in our sounds is he sounds like a guitarist playing bass, I sound like a bassist. [/quote] yes, sure, Lozz, we have had the differing view before and I know you are a fan. The Ampeg Portaflex..if it behaves at volumes ....will be that solid underpinning sound but you might not be able to get away from that. Great for a finger style P-bass, which is just there all the time. The reason grind works for amps like this as it doesn't or can't stay real tight higher up... but then 99.9% of people really wouldn't want it to... or you'd use a different amp completely. I think Aguilar amps are a more modern take on where Ampeg used to be... As you say, horses for courses

If you have only a small support slot and the main act has pulled out, what are you selling? You need to discuss this with the other band about how you both propose to cover the evening. If you can't cover the time slots then you have to cancel... IMO

[quote name='discreet' timestamp='1377910553' post='2193624'] Sorry, but there is NO WAY that Markbass is 'soft and flabby'. [/quote] Yep, there is...every time I hear one. And I've heard lots... If I close my eyes, I can recall the same sound characteristic from everyone I've heard use one. It is a low mid thud which is soft with no beef in the sound at all. Such a dull sound.and not focused. The only guy round here that sounds pretty decent through one doesn't use their cabs, ............... I think it is the amp/cab combination as the amps themselves aren't bad... My other problem with them..but this is true of other amps as well, so less pertinent, is that the amps loose the sound when you turn them up. What sounded ok at low volume needs tweaking when you turn up. No real biggie just slightly annoying and makes sound checking them at low vol pointless.

[quote name='eParrot' timestamp='1377884729' post='2193281'] Really? I'm listening. Lets hear it for portaflex. Is it the 'ampeg tone' that swings it for you? [/quote] No... I am not a fan of Ampeg typically and only buy into the SVT/810 tradition as it is just a happy accident in getting things right, IMO. But..... having done that, it has learnt the trick and the Portaflex tries to repeat it. Maybe the Portaflex is along the lines of the classic B15 ...as much as I wanted to dislike it, as per the SVT3 which doesn't work for me, the Portaflex series seem to have a nice warm balanced sound which just works. As I say, I am no real fan of Ampeg but I think the Portaflex is great to plug into. I do have reservations about build and quality, so it was always going to be a hard sell to me, but I have to say I like the Portaflex. Markbass is soft and flabby whereas Portaflex is round and full, IMO I wouldn't extent this endorsement to many other Ampeg products, but that one, I got on with. Quality/QC Markbass should win, but not from a sound POV, for me

Seems to me that if these guys got off their arses and did something like gigged more, they wouldn't need the rehearsals and you might not be leaving. Since you have made your decision and agreed to help them fulfil dates, then that is the extent of your obligations as far as I can see. It isn't down to you to make them better rehearsed...that is what their new guy should be doing. If it isn't convenient then tell them exactly that... I don't see why you should fall out over it, you have other priorities or things to do. If that means you suit yourself, then so be it.

That slap 'style' in the OP really never got beyond the 80's and it wasn't that great then.... If people think that is where slap is now, or can't hear the difference, then maybe they don't listen enough to know what they are talking about. The best slap part, IMO, is rarely more than 2 bars long anyway.

I didn 't think I'd say this but I prefer the Portflex over Markbass. but I think you need to demo at a decent volume before finally choosing

I think the industry standard is still an 810 sealed cab as that is what does the job best in most cases. The weight issue is a non-issue to them as they have crew so they can concentrate of getting the best that suits them. Bass players will have likely done pretty entensive tests and are attuned to the nuances of sound that appeals to them. I know one top player who can really dissect what he wants to hear and how he wants to achieve it.. so spending large amount of time attending to the whole process of sound does actually add up to something. These are mostly people who can use what they like....and tiem and time again they come back to multiples of 10's. Traditionally, the 810 would have been about power in a box... in an era when sound was pretty basic, but now it still prooves to be the tool for the job for so many who should know. The 810 sealed cab isn't traditionally bass heavy so altho the volume can work the stage, it will not flood it..or shouldn't do. This makes it mon mix friendly..or friendier, You try putting too much bass on the stage and see where that gets you with the crew/soundmen. Pre-production meetings are as much about this ..and your rig and how you use it as they would be about what effects you might run...etc etc. It is too glib to say these proferesionals don't all know what they are doing and aren't abreast of new technolgy and its thinking when their whole remit is about best sound and how to achieve it for the particular job. Some kit will stay in the pub and some will never get anywhere near a discerning stage..and some will be totally unsuitable ( relatively..) anywhere but..!!

[quote name='wateroftyne' timestamp='1377811506' post='2192360'] Yip. Unless the tuners have been knocked. [/quote] Agree. Strings can run out of life, as far as I am concerned which is then the time to bin them.. but that will take a long time. Otherwise a good tuner will hold the strings unless knocked.

It is a question of risk. Who gets the hassle should anything go wrong..?? not least any expense.. Can do without it myself

If you can do woodwork like that, why can't you build a cab that doesn't look like it was knocked up by a blind man in a garden shed...!!

And in that montage of clips...check out Steve Washington guessing on drums... He is STILL a freaking monster...

[quote name='NJE' timestamp='1377782618' post='2191737'] The keys player told my dad that they were all playing 4-5 nights a week. I don't know if that is together or with different bands but that certainly explains why they are all so tight. [/quote] Dudely works with so many people... which is why my comment about him still playing American football is pertinent. But he doesn't want to quit Paul works a lot as does Rico. I am sure all their calenders are pretty full that they don't have as much time for this project as they might like....but you'd have to ask them that... Pleased they are getting recognition afar

You'll like Paul, Chris, very mature player. Great vox as well.

I have always tried to be very clean.... so I can actually stand to be solo'd on a track. Low actions suit me as I have a very light touch... I can dig in as much as I like as still the left hand sounds ok.. I have a pretty light gauge 40-118 over 5st... and if I tilt the bass beyond a certain angle..like slumped in a chair.. then the strings can choke. The downside is that any neck shift due to temps becomes more critical, but I am pretty attentive to nuances like that. Not a problem, IMO. People say that tone can suffer with a low action, but I haven't found that to be true or relevant. There are plenty iof other variables that affect it more.

We looked into this very carefully when buying P.A ...and there was no doubt that a wooden cab beat the composite cab hands down on sound. Try the QSC K12 and K12W. for example.

Tone Hammer.

[quote name='spongebob' timestamp='1377706759' post='2190634'] Big AWB fan here too. Only really heard them 'properly' in the last 6/7 years - too young first time around! All of the albums were re-issued a few years ago, bought them all. I love the 'space' in the songs - and bass parts. The tracks really breathe - great fun to jam to. Keep meaning to see the current incarnation live to see AG in action. With regards to Hamish, someone was telling me recently about a Kent pub he plays in all the time - for the life of me, I can't remember who told me or where it was.....! [/quote] Hamish had two pubs in the Faversham area, The Anchor and The 3 Mariners. He moved on from the Anchor is September last year.... not sure if he retains an interest in the Mariners. As far as I know, he is now in Whitstable. Not heard his venue doing music, as yet.,.. but his band, the Anchors does a few shows... plus he was touring as well.

Local boys round here altho most of the band get work all over. NIce guys as well. I have to say Dudley is nuts... ( he wont mind me saying that ) as he still plays America football in the leagues with a passion. Big guy Linebacker...

Hamish will be pleased.