JTUK

In that case...the extra cab will need to be 8 ohms. Paired, that rig should have potential to produce 500watts.

2nd track is far better. But how it went down onto 'tape' and how it sounded out front may be two different things

I'm from the South East and that price would be ok...if you are sorted enough. My main band will do weddings for £750-1000 for a 5 piece. That is for 2x45mins and we don't do requests. It is basically our pub set which the B&G will be invited to see and book accordingly.

[quote name='Musicman20' post='1342943' date='Aug 17 2011, 11:48 AM']Has anyone tried the Mayones basses that Mark @ Bass Direct has in stock? Im widening my scope and basically looking at everything, not fussed which store its from, but would rather it be one where I can go if any problems. The Mayones Jabba Classic is a very pretty bass in dirty sunburst. Some of my recent orders I made have been cancelled so Im back on the Jazz hunt.[/quote] Looks very nice, good demo track with it as well.

Good to hear you were able to get back playing again

[quote name='Bill Fitzmaurice' post='1343138' date='Aug 17 2011, 02:13 PM']no, because with his cab in your ears you won't be able to hear yourself. The ears his cab should be aimed at are his.[/quote] Agree.... you do not want a gtr amp/cab in your ears and the gtr standing say 10ft plus away as bang goes your mix...and your ears, no doubt. The best way to mix a gtr is have them be deafening themselves. On a broader note..... you shouldn't be playing stages where someones elses kit encroches massively on your hearing domain...especailly gtr and cymbals. A mix is fine..an overbearing one isn't.

[quote name='xgsjx' post='1343110' date='Aug 17 2011, 01:49 PM']Aah, now that's a question! I assumes that the MB was Markbass & JB for Jeff Berlend & this being the combo... [url="http://www.markbass.it/product_detail.php?id=75"]http://www.markbass.it/product_detail.php?id=75[/url][/quote] ha ha ..that makes sense as well. We need the OP to clarify.

The band with Guy Pratt and Gary Wallace is light years more fun to mess around with than anything that Waters would do.. Hopefully you can get to play the latter. Also, tbh... it is all about the Gtr having a good take on Gilmour...if that is the case...job done.

Are we talking about the same combo..? when I google MB 115 JB combo, I get most pointers for this [url="http://www.musiciansfriend.com/bass/gallien-krueger-mb115-1x15-200w-ultralight-bass-combo-amp"]http://www.musiciansfriend.com/bass/gallie...-bass-combo-amp[/url] I say not convenient as people might buy a 200watt combo expecting that combo to put that out..whereas in reality, to achieve that max output, you'll need the amp driving into 4ohms, hence 2 cabs. ( it may well be the internal speaker is 4ohms, of course, but this is not the norm, IME. And once you get into 2 cabs...you negate the reason you likely got the combo in the first place..namely being compact and an all-in-one entity.

I would agree that £250 starting price would be the max I'd pay. i think they are great cabs in good condition and worth more, considering what else you might be up against for the money ...but achieving that price is another thing..which is why you are right to want to consider the resale vlaue. It isn't that the cabs aren't wotrth £250..it is that you may have trouble gettting that price....if that makes sense.

What is it about Wal's..?? Good solid basses with a unique sound. I never went for them myself, but they had plenty of fans, esp in the studio. IMV.

I always thought there were 2 types of voicing..SWR and Eden, in quality cabs of that era. The XLT was Eden's Goliath type cab. Heavier and maybe just shaded it...if you liked the voice Like all old cabs, you need to know the Chassis are in good condition. If you could get it for £250 or less..I think you'd could have a very good cab. Did I mention they were HEAVY, though

I don't know what to say.... but I have been looking for a cleaner for ages.

[quote name='Linus27' post='1342575' date='Aug 16 2011, 11:36 PM']I think everyone should just get a 2EQ and be done with it. They sound better anyway and why have 4 knobs on a bass when you can have 3 [/quote] The reason they sound better arguably.....is that there is less to worry about and conflict... What can be more simple than just bass and treble...unless you are Jeff Berlin who just used to have a volume pot wired in

[quote name='stingrayPete1977' post='1342580' date='Aug 16 2011, 11:44 PM']I am right in thinking like me you give the bass as good as the full beans on 2 or 3 eq versions? For me its Bass-Full, Mid- just off the indent on the boost side, Treble- on the indent or very slightly boosted. Amp as flat as possible, adjust amp mids to suit the room (Im crap at that though).[/quote] The thing is that with MM that is an awful lot of bass being put out. I no longer own a MM, but I had this the other week when a friend of mine was having problems with his Sterling and SVT3. He had the mids boosted and couldn't hear himself very well. This sounds odd on paper but you would have to know the amp and have heard his sound at the time, and also I don't think Ampeg ever get this EQ part right as they use a 5 point dial AND a short banded graphic. It really DOESN't work well, IMO Anyway, we seperated his sound to the point where he could hear defined notes ..which meant flushing out some of his clumsy mids from his amp...and he was happier in his playing and his monitoring. I listened to it out front and I don't think it is there yet, ..better ... but there is only so much influence you can impart as he has his playing style and his sound in his head. Plus he wasn't well versed in getting sounds either so too much would complicate things....KISS in these cases. He was happy but if I told him to do what I do... that wouldn't work for him. I certainly couldn't tell him to forget what HE wants just to satisfy my thoughts on his sound. If this was on a profressional basis , his job would be to produce the bass part, the sound engr's job would be to re-produce that. If the bass can't produce a sound he can play with..that trumps all else.

[quote name='51m0n' post='1342199' date='Aug 16 2011, 06:06 PM']How much of your gig is solo bass? With all due respect, if you answer 'not much' then the sound of the bass solo doesnt matter, its not what you will hear playing, its not what the audience will hear, and its one of the single most common mistakes made by bassists and mix engineers when they are learning the craft of mixing. What matters is the interaction of the whole, all the instruments and how they meet, mingle and sit together. You can get the worlds most amazing bass tone, and in the mix it will completely disappear, because what you like about it solo is running headlong into other instruments that produce those same frequencies but louder. Either that or you will mask those intruments making a bass heavy mix that is unclear for punters. How many gigs have you been to and thought "I cant make out the bass, but the kick drum is SLAMMING" ?? I did not say mids are easy to control (I said the opposite), and too much is nasal, you're right. But, if you use something like a VPF (which has 16dB of cut ffs) you are going to wreck any chance you have of creating an audible consistent mix. Not the bass. The mix. The audience are listening to the mix, you are listening to the bass. If you cut all the mids you will not hear the bass as easily, if you dont cut enough (for you) you wont like the tone. The point is if you set the bass up at gigging volumes how I suggested and really use your ears and not your eyes you will almost certainly find that you are heard more clearly, fight less of the rest of the instruments, dont like the solo sound as much, and have more mids. Here endeth the lesson [/quote] I am listening to the bass because I have to play it. It doesn't matter if I only have so many bars where it is pretty much a bass as this will define the tone in peoples mind. Burying it in a mix is one thing... to have it so out of shape is the way to get yourself not rebooked. You might not approach this that way if you don't do playing gigs and only mix them but to foster a bass sound because it is easy for you at the detriment of the bass is ridiculous and will not get you any favours from the band. I honestly have to say I doubt if I need any lessons from you, thanks.

[quote name='Johnston' post='1342035' date='Aug 16 2011, 04:00 PM']Does the question "Are you in for the fun or Money? " have any bearing on the decision of how many people?[/quote] Sure...but only after whether it sounds any good. That is why I say 5 inc keys..you can cover a lot of songs and you have distinct colours. The gtr doesn't have to be this wall of sound and then solo into thin air. Anymore than 5 and the budget has to be decent...and that restricts types of gigs. No horn player is going to play for £30..which is what 7 is looking at at typical pub rates. You only do functions for money anyway..or I do...and I am very picky about what ones as they can be as soul-destroying as anything..

Well, I certainly give a rats arse what it sounds like solo...so wouldn't advise anyone to have a sound they dislike. If you dislike the sound, you probably can't play with it well either... and that affects everything else. A very nasually sound can be a pig to play with and control.. and how are you going to know if that travels well? Set the bass up for a sound you play, not having drums doesn't help much as you could align your sound with the kick. If you want it to sit..mimic the kick sound...ish...it you want it to be more than that... add something that will seperate and differeniate. I stay away from getting a honking sound..and if I want that type of thing, I'll let the bridge pickup do it. That is not so easy on a MM.... A MM will sound good..if you add no more than a touch of bass, and a bit more treble. Go nowhere near half way on the dial for either...IMO. The Bass sounds there or there abouts now... now go to the amp. Start with the filters and I doubt you'll need to do much more with any onther controls.. Bass players think that mids are the be-all and end-all... but they are hardest to control and easy to make sound crap. Most people shouldn't be let near them..amps makers know this..which is why they use these timbre controls now...!! Mids come into things when you core sound is good..and you want to add a bit of cut... You do this rather than use volume..but you should be very sparing with it, IMO.

If this combo is designed to be run with an extention cab...if will very likely be 8 ohms for the exisiting connection, so therefore you'll need another 8 ohm cab. Check the manual...but I believe this amp is rated 200..and that will be at 4 ohms...so if you run the combo as is...you probably only get 130 watts or so.. adding anothe 8ohm can makes a potential 200w. This is why combo's aren't as convenient as they would make you believe..as you need another cab underneath anyway to get the full makers ratings..typically

I'll clean it when it looks too dirty but find a wipe down is enough so maybe once a year. I'll put a very neutral polish on as well, to get rid of any smears. Just enough to embellish/feed the wood. But I avoid extreme conditions..and always air the basses in moderate -typically household- temps Never keep them shut down in cases for long

[quote name='stingrayPete1977' post='1341037' date='Aug 15 2011, 07:25 PM']From previous posts of yours I'm surprised your closed off like this JTUK? I would do solo work if I could, I have done some duo stuff, Played in an originals 3 piece from 1989-2005, Played in blues bands with 4,5 and 6 members, Just started a 5 piece function band and play as part of the Dave Barron Band which varies depending on other players workload but no less than 3, can be as many as 7. If you have more members they don't all have to play at the same time, some sit out for certain songs for example.[/quote] Not sure I'd say closed off. I like 5 piece as I don't really want a player as a singer, but this isn't so hard and fast. I'd add a sax but we can't afford one even though he'd earn his money. I know the guys I'd want and I know how they can play. I like the different sounds that keys can add...and it just opens up so much more stuff you can take on. I have a groove type project in the making...just waiting for a few things to click into place and it will come about. I'll use mainly the same guys I dep with or have met on dates..musical, that is... Vox will be a between a a few female vox, mostly..depending on their repetoire What I don't want is a gtr player than we end up backing...so no 3 pieces with a gtr jizzing all over. No twin gtrs unless they are very different..I just don't think there is enough variation to keep me interested. Solo after gtr solo bores me silly, I'm afraid and most local bands can't cover a song well enough as a 4. I just don't want to be like 90% of the line-ups round here, doing the same set. When I get calls for deps.. which are mostly bookers with a pickup band, I always ask what the line-up is... there is invariably a sax and there may be 2 gtrs without keys and the stuff can go somewhere... but I wouldn't want to do this too often. Keys who can busk are in short supply round here Keep it all occasional, keep it fresh I have to say if I walk into a pub and its a 3 or 4 piece...I'll probably not stay long. There are a couple of blues players who can do it all night, but I'd rather play that than listen to it. oh, forgot..I'd have horns as well..but then the money gets silly and the band needs to be rehearsed/arranged for them as a section.

[quote name='warwickhunt' post='1340856' date='Aug 15 2011, 04:42 PM']The term 'Trigger's Broom' springs to mind! [/quote] yep...quite..!! But I am confused..is it a 82 copy of a 57 or a 2011 copy of an 82 copy of a 57..????

5 st became more common late 80's but most I tried around that time..the B st was a lottery even on the better names. So, with all due respect, I wouldn't expect some of the cheaper lines to be any good now...not saying all, just most, so that would be even more of a factor back then. I recall going to a shop/luthier and trying Yamaha's, Smith's and Sadowskys early 90's and none were good enough to buy..even with the more exotic as they came with £3000 price tags, which I couldn't go to anyway. So, what I am saying is... if these very good makers could sometimes get it wrong..then forget the cheaper makes. I think you will still be taking some sort of risk today, paying £1500, if my recent experience is anything to go by

Not sure how much of GK is U.S made. I would hazard a guess that most is Pacific-rim/China etc etc. Maybe their top line stuff in U.S made..maybe not.... but then you might get a price break on it and that is fair enough. What I REALLY object to is paying top $ for a 'name' and it is still made in China/Far East. I would exempt Japan from that, somewhat.