JTUK

ha ha, way to go, gear-head.

[quote name='OzMike' post='1263529' date='Jun 10 2011, 05:34 AM']Hmmm ... I find learning covers note-perfect, at least initially, is a great way of improving my playing. Capturing the exact nuances of someone else's playing can be hard, and it really forces you to concentrate and analyse what is going on. And once they are learned 'perfectly', it seems to make sense to keep playing them that way. I can't think of many rock / pop cover tunes I'd do my 'own thing' on - that's what other bands (that allow more flexibility) are for.[/quote] kind-off...but........... The bass learns a part and then that assumes that everyone else can do the same..which is not always the case. You can have a hard time making that work. I would get the jist pretty close and then go with what the drums can do. It may well be that the drums or anyone else hears it differently and has no desire etc ..to play that part like that..so you can be setting yourself up. Far better to make the thing work in context with the band invloved..that slavishly assume that because your part is right..the rest will follow. Classic mistake IMO..of a lot of people...oblivious to what else is going on or what works and what doesn't and this can get close to that scenario, IMV.

Get an Eden XL cab to match it. Personally, I'd use another 210 XL. I had the same decision the other week and I am so glad I got another 210.

I don't believe one small light cab does it all. People say they do and then you see them pair them up and then stack etc etc ..so I agree with a 500 amp or thereabouts and 2 smallish cabs. That way you can use a small cab for quiet instances and then get both out for a bigger gig. To this end..I have 2x112 and 2x210 and choose accordingly. Atm..the amp stays the same..- I may add another soon, and I far prefer 2x210's to 2x112's ..but the actual margins are smaller in reality. 95% of the gigs I do I can do with the 12's..it is just that I like the 210's better.

note for note...?? who cares... If you know the song you'll know the intervals, and then it is all ears on bar 1

Whatever an amp pulls..I generally double for use with a Generator.

I had an old TE all valve amp..can't remember the model but it had that horrid graphic in it, which I never liked..but the all valve output stage made up for it. At one time, TE was the stuff to have..and raised the bar, IMO..but then that spawned SWR and Eden ( not literally ) and the like which were on another level again.... so although I played through a lot of TE..I never owned one apart from the valve job..which I have to say was quite decent at the time.

[quote name='chris_b' post='1262093' date='Jun 8 2011, 11:27 PM']My cabs come up to my waist and I can hear every note. The last thing I want is a cab at ear level![/quote] Agree.... many times over .... and I have to hear every note and nuance.

My fave player.... Was talking to someone who played with him on an artists definitive album and use to hang out with the NY guys in the club scene and he said that AJ was the ultimate student..always looking for something else to learn. And considering where he sits, IMO, in the bass player league..that is quite something. I agree..if you don't get this... you need a serious rethink.

Of course it does depend on the overall band mix and that should be on everyones agenda..and gtrs and drums and keys, etc have to consider that as well.....but some people like a sound that sits is the mix..but then can't quite hear well enough. Personally, a bass should never just be in the mix, IMO...and certainly not at stage level but that is a post for another thread.

I can't think what mush sounds some people must have in order to have to stack cabs to be able to hear properly.

[quote name='essexbasscat' post='1260488' date='Jun 7 2011, 11:05 PM']Wouldn't mind trying out the amp as well, wonder how they would match with my GS 112's ?[/quote] I've used a tone hammer pedal as a pre through GS112's. The sound is nice. If you like GS112's and I do, then I can't see that the Tone hammer will be a problem. What are you currently using..? I use a SWR SM400 For my own indulgence..I would like Aguilar to include a valve at the pre stage. I know you have that in the DB amps but they are touring amps...with all the weight/carry issues that go with it. I may well go down that route with my DB cabs and plop a DB7 series on top ...but it will add up to very expensive unless it gets more than a few outings. Still a work in progress sort of thing for me..and am not entirely sure if I will go to all that, in the end.

[quote name='mcnach' post='1260264' date='Jun 7 2011, 08:59 PM'] ah, good times Let me horrify you now by saying that I am using a spare Sue Ryder neck to create a J-type bass. Ah, madness!!! [/quote]

I think it is natural to check out the bass player. I like it when bass players come up to me afterwards and start talking... and I think it is a better compliment if other musos say they were watching you and liked what you were doing. I tend to play and interest myself and trust my judgement is good in the situtaion I am in... I might flash around at chummy gigs a tad too much..... but can up the game at the more discerning gigs, hopefully.

Skimmed this.. But bass is an afterthought for most small P.A.'s and like it or not, it will be an indulgence to mic and DI the bass. You may just not have the channels spare for a start. If you like the sound of the amp...you may have to decide whether to give them the Ampeg cab simulation from the Sansamp or the GK DI. I'd go the latter. Your call if post or pre..if you have that choice at the DI and that depends on whether you rate the engr. Some are very good and some are glorified DJ wannabees. If it were me... I'd DI from the amp... and most P.A's like this as they don't carry enough DI boxes..always a good pointer of your PA company expertise, IMO. This way there is less over-spill on stage.. Leave that to the drums..!! Make sure you have a pre-mute if you are going to be swapping around basses. Personally... I would keep this to a minimum and the spare bass is backup. You don't want to invite problems in levels by too-ing and fro-ing between basses..if you can avoid it.

SR4..?? I hope you aren't talking about this Sue Ryder crap I have played one of these and I was right all along...

Or a hipshot..!! for those odd forays down under..??

If you like them, you like them. I don't see how you can put any cabs into place without hearing them..and there are some people whose judgement you might relate to and others doesn't/can't register when narrowing down your choices.

No problem if that is what you prefer. On paper it seems you have two very nice choices, but you can't judge these things on paper and supposed spec. A 44 year old bass has no devine right to be any good...but if it has been in business that long there may be a reason it survived being chopped for firewood. I suggest you are very lucky. I've played my mate's '62 P-bass which is worth a lot of money and frankly, it is a dog, IMO.

[quote name='Musicman20' post='1258725' date='Jun 6 2011, 06:31 PM']White/Tort/Rosewood Thats my favourite![/quote] yep.... no question. I'd include block and bound as well for good measure.

let the girl pick the songs and try to alter the mix of songs to get away from the same vocal delivery/style. Drummer does well.....but if it were me..I'd be looking to get different versions of these songs ..anything to shake things up and not sound so obvious.... and most of that onus is on the gtr. Not looking for things to pick on...trying to be constructive

If you like her and feel more enthused.. and hopefully that will show on the next gigs..then all win-win, IMO.

I wouldn't put a single GS112 on par with a DB210 at all... and by default, a HS210 either.