JTUK

Difficult to work from the audio feed..but that is all we have. The drums don't work for me... I don't get the tune on them and they just don't carry in the mix. Not sure the P.A was man enough so that might not help the drums issue..?? I like the idea of the song mash-up in Vid 3. Vox are not my thing so no comment there

I'd work on one cab... the 210, and centre those 4 controls... I wouldn't bother whether this 'true' flat or not... it is where I would start getting the sound.. and it becomes the reference point. I assume you don't have any other filter type controls to confuse things..?? The twang to me, seems to point to a mid hole..which you don't seem to fancy. I think the bass at about 11, and the 2 mids around about 1 o'clock with the intention of filling that hole. I can't hear how the mid controls will fill that hole though. Treble wouldn't be more that 1 either, depending how you hear you sound. A lot depends on how effective the EQ stage actually is. Can you dilute the grind with less gain..??

[quote name='essexbasscat' timestamp='1356284727' post='1908800'] Please specify AAA rig ! [/quote] DB750, 2xDB210. Pretty (very, ) pleased with it... quite vintagey.. and a drummer buster in the wrong venue. Looking for a 610 and if there was a DB610, I'd be all over it This is why, I would agree, that if the OP thinks the sound is there...I wouldn't hurry to move it on.

Are the cabs a matched set..?? if they are, I would discount them being the issue. If not, then you may need to work with just one cab at a time to see if they 'clash'. But..I am thinking the BP8 is not helpful

[quote name='essexbasscat' timestamp='1356282134' post='1908761'] Seriously, listen to a whole range of stuff before you spend. There's a crowd of BC'ers that have been in your position and spent a mortgage trying to get 'their' sound back after selling their heavy rig. [/quote] know what you mean.... My AAA rig gets heavier every time I upgrade it....to the point that my B rig is TF550-B and 2 Berg NEO 112's. And I don't think I'll get any thanks for saying this...but my A rig slaughters it. Not that I am saying the B rig sucks... far from it.

[quote name='Paul S' timestamp='1356280620' post='1908742'] Including Barefaced Cabs? From the few I tried, BF were head and shoulders above the others. [/quote] Don't want to derail the thread.

[quote name='Paul S' timestamp='1356277108' post='1908677'] Really the only thing you sacrifice is money - it is not a compromise to get lightweight gear. [/quote] Have to say I really don't agree with this...but that is for another thread. I have used quite a few lighter weight options these last few years and for my No 1 rig where sound is THE thing, none of those light weight options made the grade as far as I was concerned. IF carry is a Major factor, then it is a question of can you live with the lighter alternative or compromise..and I would expect quite a few to say they could or would.

Not light but I'd be putting a C Audio behind the TH pre amp stage.

[quote name='chris_b' timestamp='1356202027' post='1907962'] If you liked the Eden WT550 then I'd suggest the WT800. [/quote] Friend is selling one... Great amps..

Depends how often you need to lug it about. If you were to sell.... and you like the sound... you could spend an awful lot of money getting back to where you are now. and you wouldn't get so much money from your rig. Not saying it is a poor rig but people wont pay what its worth, I suspect, due to the weight. If it were me, I'd just try and make your rig more portable with a decent trolley....or put casters on the combo

[quote name='jaydentaku' timestamp='1356217189' post='1908174'] Fender can do no wrong! [/quote] Well, wouldn't go that far but I have 2 main basses that are Fender J upgrades so it isn't as though I don't get Fender. But to re-iterate or clarify my point. On a quick count up of bands at a local level .... I think I've seen one band that uses a P-Bass and I probably see 5-8 bands a month.

I used to thumb the whole lot .. even the solo part. The higher fretless part has to be covered by keys or, even a voice...but you'll only get the first part of the phrase in. The only consolation is that most 'watchers' will be checking out your slapped part...because that is just the way these things go even tho the fretless part is far more inteesting and articulate. Check out this [url="http://www.youtube.com/watch?v=yfBB2NG93-Q"]http://www.youtube.com/watch?v=yfBB2NG93-Q[/url] or any other Park concerts with Amand Sabal-lecco

[quote name='JTUK' timestamp='1356096877' post='1906764'] Must admit, when I attend local gigs, I often think, oh no, P-Bass...!! The only way people can get that to work is to pluck the hell out of it..and this means mostly a pick. If they play fingerstyle, then the band had better leave some space. As I said.. a decent FOH guy will make that room..... but mostly P-Basses can be the kiss of death.. which is the total opposite of the way they should be used on pro stages. That is why the MM is so popular at local gigs... whereas it loses its usefulness on a larger stage. I am not a fan of the overused Humbucker ( for example) to force its way through a mix...as mostly, all it will achieve is to muddy up the mix. A case in point of buying the bass you want for its sound... and not knowing how to use it... What was that about bedrooms..?? [/quote] [quote name='The Dark Lord' timestamp='1356205121' post='1907995'] The men in white coats are coming for you. This is so wrong it's hilarious. [/quote] I've printed it again..so maybe you'll read it and get it this time round, but I will not hold my breath judging by most of your bass related posts.

In the context that you have presented the demos... I prefer the re-done tones as solo'd The Live soundman might prefer to work with some of the tones of the earlier demo tho... All in the context.. I work from good tones that complement my style...and I concentrate of delivering a good enough sound..again, IMO..that the engr doesn't have to chase sounds. This works because getting the sound is quick..and it is not too far removed from what I want as it is all there anyway.

Thing is, if you have passive, it will not rescue an average bass, whereas active can, to a better degree. I don't think this is the way to go about myself and wouldn't have an active bass that doesn't sound very good passive tho. The attraction for high end basses is that it takes away the 'guess' work of how the woods will inter-react. You aren't going to be best pleased paying £2500 for an average sound...and the pre is the insurance You don't want to be using an active to the full anyway. Running such extreme boost rarely works, IMO A subtle treak is enough....

Well, on the face of the Ad above, I'd do it... have to see what would actually pan out in rehearsal...and the fact that I don't want to schelp around the home counties but if all the ad says is don't waste the time, then that seems an ok pitch to start with.. But the other links would be good for browse thru as well. What have I missed...??

Must admit, when I attend local gigs, I often think, oh no, P-Bass...!! The only way people can get that to work is to pluck the hell out of it..and this means mostly a pick. If they play fingerstyle, then the band had better leave some space. As I said.. a decent FOH guy will make that room..... but mostly P-Basses can be the kiss of death.. which is the total opposite of the way they should be used on pro stages. That is why the MM is so popular at local gigs... whereas it loses its usefulness on a larger stage. I am not a fan of the overused Humbucker ( for example) to force its way through a mix...as mostly, all it will achieve is to muddy up the mix. A case in point of buying the bass you want for its sound... and not knowing how to use it... What was that about bedrooms..??

[quote name='gafbass02' timestamp='1355993989' post='1905333'] I expect its the scoopy patrol who don't spend their lives on here over analysing like us lot, :-) and who may not realise that their great sound at home doesn't work at a gig. [/quote] Depends if the rest know what they are doing. I wouldn't say my bass is mid heavy at all... but it doesn't get buried. I just think some people haven't got a clue... and you can boost the mids all you like and still have a mix of mush.. You only have to listen to most of the bands round here...and I guess this would be typical elsewhere.. to hear P-basses lost and no definition... and higher end basses running mid-madness...with a sh*te sound.

Not sure about that...as that is 540 into 2 ohms..?? so say something under 400 into 4..which is what each cab would have to be.?? I am sure you would get quite a sound out of it..but all that messing around for 400 odd watts....??? And depending the amps x-over capability..?? what do yopu really achieve..? Best to hook up the bridged version if running both cabs..??

Really...??? that is a pretty fundemental miss as he is a major component in that band

Mine is pretty much as low as it can go ..as that is the way I play. Some basses are just not worth me picking up as I can't play them with a high action..and they don't respond, but set-up is a personal thing. The only thing I would offer would be that a hard playing style might bite you sooner as your hands get older ..???

It is like everything.. you get to know your kit. 1 bass will run a battery for a year or so... and even then, I'll change it on the basis that a year is easily about time I can afford to change it ..ha ha . The other bass really goes through batteries and I am having it serviced /sorted but I prepare for the gig so I don't get caught out. Both basses sound good passive as well....but I start the soundcheck with a view to going active.. and if I run passive it means I liked it in that room. But if you spike the sound it means you haven't sound-checked very well at all...

I would expect the artists people to not let this happen. They should know their artist, warts and all... and everyone will have them.. so they should legislate for this to make their artist show in the best light. Some go too far and get diva/prima donna labels and some may deserve it...but this sort of thing IS the artists career and should not be compromised. I wouldn't epxect my singer to be happy if they weren't getting a good sound...and certainly if the feedback wasn't good about the sound. They are many things to control..and many things that you just can't..but this seems a pretty basic thing to f*** up, IMO. We have played some 'challenging' venues but if the feedback about the technical side is bad then we aren't happy AT ALL. There are just some things that aren't very forgivable..and I would expect the management to be on the ball. Once is a bad night and a mistake... but not to be repeated.

I'd expect that artist to struggle at the best of times.... so I would think her management should be well aware of a good and sympathetic sound. I have no idea why they didn't that.... were you able to move about the venue to get an optimum sound..?? But..too loud is the killer anyway...as there is nowhere else to go with it..

42-118/120. I don't dig in deep in general play and that is just the way I developed the playing. The downside is that I loose level ..as other bass players are waaaaaaaaaaaay louder than I am on my own gear, but then I don't beat up my hands and that should make my playing life better and longer... and I have 550 and 750/900w amps anyway. I am not chasing for volume..