JTUK

If you are a flash player, then you need to pick your moments. I think it is nice to have a trick or two or be pretty watchable. You'll know if you are connecting if you get featured and you get decent ..not polite.. applause. Some gigs can be about that a bit... and some gigs most certainly aren't. Know your market,

Here is one..a friend wanted some help learning a pub set. The band gave him 44 songs, although the set would have amounted to 25 or so, max. They also said their bass player might actually be able to make it back from holiday, but in effect they wanted him for stand-by. He gets pretty stressed out by this sort of thing but put time and work into being happy with the numbers...even though they didn't see fit to write the set in advance to cut down that work. So...for 44 songs work, they promised no actual gig at the end of it, no mention of any money, and didn't help cutting down the load of about 15-20 songs they weren't actually going to play... Their bass player made it in the end so all that fraught concern for nothing. I told him right from the start not to touch it unless they paid him up front ..just for being on standby...or at least agreed to pay for the stand-by. hhhhmmmmmm...

[sup]No, but I wouldn't be doing those gigs after that waste of time. Bit disrespectful for pub sort of money.[/sup]

I totally sympathise with Wot's point... In these times, it is pressure to sell at £10 or so a ticket... so why you risk a good name for such a lame excuse...??? I agree, P.A going down can be a major thing and you'd get sympathy from all concerned, IME...but then that would be the Hire co problem, mostly. If the bass was farting about then that is not forgivable, IMO But I guess it comes down to what approach you take or can afford to take, at gigs. If I wasn't to get asked back because of a bass issue, that would be a HUGE minus...especially one that could be so easily avoidable. So...2 for me. Just my 2p...

Like to see the finished article

Looks great, Harry, hope you are keeping well and busy. Must see it up close sometime

My whole thinking is if I am going out to a gig, I expect to be paid so I prepare reasonable measures to ensure this. Just as it might mean no p*****d drummers or pissed anyone, ftm, it also means I can finish the gig, be it a spare bass, a DI through the P.A, tool kit etc. If I pack the car, I expect the money and would be pissed off if this wasn't so.......

Result.

I can see the point of most in a cramped pub gig or something but the point about paying punters coming to see a pro set-up is good, IMO. If in the event that something happens and you can swap out then thats 20 seconds between songs and hardly anyone may notice but it is the way you deal with these sorts of things. If I paid to get in, I'd be thinking what sort fo outfit can't cope with a down situation seamlessly. For me, I'd just pick up another bass and we'd carry on as usual. If I am watching someone restring, then that is crap, IMO Strings fatigue and batts die and both have happened in the last year albeit not on important dates but two basses is no hassle for me, I'll make use of both, anyway. I can think of a couple of band leaders round here that would not have you back if you let them down like that...so it is upto you.

hmmm not to join this love-in for all things BF. Not so long ago, the Compact was suggested to be all things to all men, and therefore to be run as a single cab solution. Not many seem to stick with that as they now want Midgets on top. This suggests that a Compact 15 needs help cutting through or the user needs something up near his head to hear it. The number of people who say their dream rig is a Compact and a Midget..????? I don't think many disenters post many comments so you may have to use search to find them on here. If you think you want to go down this BF route, then get one on trial and go from there. If it works for you, you'll probably keep it.

Excellent...and closer to me as well. Good news, all the best.

Power-wise, a 115 and 210 should be an more even balance with both around 300watts per cab. That would put the impedance at 4..if 8 ohm each, with a handling capacity of 600watts, typically. I'd say that was your cheapest/easiest compromise. If you like 15's, then the 210 will only liven it up a bit and enable you to hear the rig when around waist height, potentially. A 210 and 115 makes more sense to me that a 410 and 115.

As my two gigging basse are relatively new to me (18 months max) ...I take 2 and have them to hand. I don't see the point of taking a spare and leaving it in the case though, so I don't. Mine are tuned up, sound-checked and ready to go and I choose which one to start with depending on that sound check. I might just fancy one over the other from that check... I have a spare everything but was caught out the other day not carrying a soldering kit which would have made the gig passive and it wasn't the gig for that as it is a difficult room and P.A config and a prestigous gig. One more bass to sling over the shoulder... how big a deal is that? esp when everything bar backline was hired in and crewed.

[quote name='chris_b' timestamp='1323343633' post='1462152'] [size=4][color=#222222][font=Arial]There is nothing to hate about my basses. [/font][/color][/size] [/quote] Me neither..which is why I bought them and have grown to love them even more. I would fix the bleed on the pre amp battery time, if and when I get the time. Other basses that I have sold..?? The 3 worst would be '75 Fender jazz.... just plain awful all round. The only excuse was I didn't know any better at the time and I got sucked into the classic Gtr Les Paul syndrome. As in must have one...at any cost, only to find the one you have is a total dog and nobody told you that these examples could throw up a huge pile of pooh...!! Ibanez Musicman. A nothing sound..altho it played ok. Early 80's MM ..got fed up with that sound.

Do you have to run 2 large-ish cabs...? I wouldn't be using 115's over 410's in a million...not even for a lighter weight/carry...altho I would consider 2x210 to add up to a 410...but then that is just m,e. With your proposal, I'd expect you to loose volume AND tone. You can have too much low end..to the detriment of tone...and with 15's..how do you put that back..?

[quote name='visog' timestamp='1323112662' post='1459493'] [color=#2a2a2a][font=Tahoma, Verdana, Arial, sans-serif][size=3][size=5][font=arial, helvetica, sans-serif]Another view to sling on the pile... points about how well you play independent of bass value duly noted.[/font][/size][/size][/font][/color] [color=#2a2a2a][font=Tahoma, Verdana, Arial, sans-serif][size=3]Written from experience of buying new and used in each price range except last. My view of playability which is correctly intonated, low action and low to medium tension. (I know strings affect this a great deal.) Excludes vagaries of fashion (Wal anyone?), unfortunate exchange rates (how much for that Ibanez!?), E-bay chancers with yet another Rick, etc.[/size][/font][/color] [color=#2a2a2a][font=Tahoma, Verdana, Arial, sans-serif][size=3]Up to £100 – Rudimentary instrument/toy/wreck (sorry ‘project’), pure luck, occasional bargain, difficult to tune, stay in tune, play in tune[/size][/font][/color] [color=#2a2a2a][font=Tahoma, Verdana, Arial, sans-serif][size=3][size=3]£100 to £250 – Basic entry level instrument, things have improved in this band over the years but still highly inconsistent, perhaps one usuable tone if you’re lucky, could have decent playability but may still have serious production flaws limiting a good set-up. Should intonate up to the 12th fret at least.[/size][/size][/font][/color] [color=#2a2a2a][font=Tahoma, Verdana, Arial, sans-serif][size=3][size=3]£250 to £500 – Student/amateur level. Gains in playability and tone, finish and woods improving too. Can find the odd great instrument in this band. And complete dogs too.[/size][/size][/font][/color] [color=#2a2a2a][font=Tahoma, Verdana, Arial, sans-serif][size=3][size=3]£500 to £1,000 – Should have a good range of usable tones, good playability. Semi-professional grade. Should be highly adjustable to most playing styles. Good standard of fit and finish. consistency (still check – some Fenders in this range come with almost unusable set-ups out of the box, badly cut nut slots, etc)[/size][/size][/font][/color] [color=#2a2a2a][font=Tahoma, Verdana, Arial, sans-serif][size=3][size=3]£1,000 to £2,000 – Professional. Gains in tone, range and exotic finishes/woods, etc. Playability no longer an issue for most people & situations. In tune and intonated all over the neck. Studio quality tone and signal. High standard of fit and finish.[/size][/size][/font][/color] [color=#2a2a2a][font=Tahoma, Verdana, Arial, sans-serif][size=3][size=3]£2,000 - £5,000 – UK/EU custom band or top of the range US factory-mades – whatever you want to a very high standard – either yours or someone else’s name on it[/size][/size][/font][/color] [color=#2a2a2a][font=Tahoma, Verdana, Arial, sans-serif][size=3][size=3]£5,000 plus – US custom/hand-made band/fashion market quirks/collectables – fit, finish, tone and playability improvements purely subjective. Note some quirky designs and vintage instruments in this bracket can be back in the lower bands in terms of finish, playability and signal quality but hopefully they’ll make up for it with some sort of mojo.(Note: Opinion only – no experience of buying or playing instruments from this range!...)[/size][/size][/font][/color] [/quote] Whereas I DO agree..mostly. We all accept the odd one may slip freakishly through the net, top and bottom..but there you go... you pays your money.. Welcome noob.. nice splash..!!

Depends where you are in Kent..you could try Andy Crockett in Canterbury/Whitstable area

[quote name='thumperbob 2002' timestamp='1323090351' post='1459062'] Loads of good players around here- our regular drummer teaches drums and one of our deps does too- real monster players. In fact one of their pupils depped for us a couple of weeks ago and he was great- 18 yrs old- bit nervous but very very good. Cant stand playing with crap drummers- always frustrates me no end. [/quote] Tbh, that doesn't tell you much until they are in the chair. There are about 5 guys around here who get all the work..or 1st call but some gigs just aren't that easy to fill. These top choices might bring quite a trick to the party but then they might not be able to stand up to the regular guy either....but who REALLY notices this is the band members. Some of the CV's they might bring can be pretty impressive for household name.. but they still don't cover the gig on that one-off. They can all play very well/great which is a given, but a seemless fit is VERY very hard..nigh impossible, and you'd want your regular guy on that special gig. You know the ones that get the groove can really help that track..but to do that x 20 songs takes some doing. Don't get me wrong, am glad to have them..but tis difficult and you need to help them. But all part of being a section.

[quote name='thumperbob 2002' timestamp='1323071847' post='1458791'] Oh- and find a good drummer- this will make you sound much better than you are- Always worked for me!! [/quote] I think it is the bass players job to make the drummer sound good... Drummers with rare grooves are rare indeed...and that included some really good technical players, IME. around here, anyway.

Nobody in their right mind would prefer the sound you could achieve in the 60's over the sounds you can get now. IMO. If you listen to the Beatles or anyone of the day, they had usable sounds, but not good ones. I am not saying that those sounds don't have a use today..and indeed the vintage vibe is much sought after...but no one wants to have to contend with the technology..and to a lesser degree the basses and the way they were set up, to get it. IMO. .

I have to ask... SLF..???? As for the OP... just listen and practice.

The wisdom was to run it with a 4x12 and try and split the signal. The 301 was very hard to gauge how hard it was running as you couldn't hear it and people were going green 10 rows away. That was the perceived wisdom of the time The 412 gave it some perspective volume wise... and to think we actuall tried to transport that..!!!!! A fridge was a doddle by comparison I do recall a warning on the back of the cab which said sound levels may run above 120db.. ???? The bass was excessive..the tone..??? non-existant...!!

I had an old 301 and was delighted I got £70 for it. Big pile of pooh, IMO.

I'd say Ampeg.

Sounds like you are trying to say..in a round about way.. that Bolt-ons are inferior...??? I think there are way too many variables in the way before you try an decide whether neck thru V bolt-on is relevant. You might want to test acoustic resonant properties but the only factor is whether it is any good or not..