Muzz

...and does your mother smell of elderberries?

If either my bike or my bass sounded like that I'd take it back to the shop... How bizarre...

The Jenga rig! Fantastic!

[quote name='taunton-hobbit' timestamp='1454101020' post='2966547'] Eighteen replies, and no-one has mentioned Barefaced? Oh the shame........ [/quote] Do keep up...

Check in with the drummer - luckily (by the sound of some previous posts) I play with better drummers who I'd imagine will have spotted it, and then we'd bring the guitarist back into the fold with an "Ahem..." kind of fill at the end of the 8 bars...if the guitard doesn't spot that, then he's not listening. OTOH, if it's a very iconic solo, we'd probably go the extra bar so as not to feck the song up...which would be done with some nodding...and "what's he like?" raised eyebrows...

Yup, I'd agree with Lozz and suggest a secondhand ABM from hereabouts. I wouldn't get carried away by the 'half price' thing, either - that's pretty much the going price everywhere... The LMIIIs are more sterile and kinda clinical (although warm) than the Ashdown sound you're used to - when I had mine I had a preamp pedal in front of it 100% of the time, which is why I moved it on in the end. There's plenty of debate on here about the differences between power stage classes and the difference in 'heft' (or lack of difference), and the ABM/MAG and the RM/LMIII are very different beasts in that respect. Try before you buy, (especially new) if you possibly can...

[quote name='Conan' timestamp='1454066673' post='2965957'] Especially if stacked vertically [/quote] Oooooo, a 6 foot ten inch stack just over a foot wide? I'd be looking over my shoulder a lot... It's a Jenga Rig!

Our singer's done this as one of his solo gigs when he was full time. He enjoyed it, and he was the first person to point out to me that Chuck Berry, Beatles and Stones songs are in the right age bracket nowadays - I'd assumed it'd be much earlier stuff...

I'd agree with that: it depends on your requirements - what 212s you're using, and why. If it's for sheer volume then I'd say the Barefaced stuff is well suited to matching volume with smaller cabs (I had a Big Baby 2 for a while, and for a single 12 it would comfortably go bonkers loud: two would cover pretty much any gig volume I can think of), but if you don't push your 2 x 212s hard, and you're looking for smaller, lighter, voiced cabs which sound good, then there's lots of options, of which TKS get a lot of love around here.

The new Genz Magellan will go down to, IIRC, 2.67ohms - that'd be three 8 ohm cabs...

Nothing humble about a 4...

The problem with the design is a common one - they've got right on the Fender body shape bandwagon, positioned the pickups in the usual place and then visually the only thing they can work with is the scratchplate, so they change the shape of that. Unfortunately, the shape of these scratchplates don't take any visual cues from the body shape, and so don't work at all. At least Sandberg had the good sense to make their scratchplate changes minimal.

I think my basses are works of art, and I take good care of them: they don't get buckle rash because I don't wear buckles or sharp crap when I put a bass on, but if they get accidentally dinged, it happens. The first ding's the worst... I guess most of them could be described as 'boutique', but I've never hesitated to take them anywhere to gig, and I never would. I enjoy them, and I don't worry about them.

Apropos point to recall my best 810 tale: at a rehearsal rooms years ago, the band I was in had a huuuge row round the pool table which culminated in my leaving in a typical "F*&k you lot, I'm off!" kinda way. Stormed back to the room, packed up and slung my stuff in the car in a massive strop, but then had to go back to the pool table and say "Erm, can you give me a lift with me cab?"

In general, it's a call on how drunk the punters are - yeah, you're there to entertain and produce an atmosphere, but I've done security work, and it's the same call: I wouldn't stop anyone having a good time (though the stage is ours), but if they're hammered, they're a liability to themselves and others. And massively irritating... I'll even let punters have a (unplugged) go of my bass (the Dingwall gets the most enquiries, for obvious reasons) if I judge they're sober enough.

Not the same cabs, but I'm running two 350w 112s (Bergs) with a Streamliner 900, and I have the Bass at about 9 o'clock on the dial - partly for the sound, but also because, like you, I'm just a little wary still of cranking too many deep lows through them. I'm sure I'm worrying unnecessarily, I just need to do a few more gigs with them to relax... The Streamliner has a High Pass Filter, too, so the ultra-lows get, erm, filtered out, but even so, I fret a bit. I do hit the thing quite hard sometimes, I'm a pretty dynamic* mostly-pick player... * AKA 'Ham-fisted, gets carried away'...

"Can play a myriad of styles, basically speaking Jazz..." Calling Bilbo...

To start cheaply, I'd put a hotter pickup (like the aforementioned DiMarzio Model P) in your P-bass, and give the mids in your sound some attention: they can get overlooked, and are where a lot of the anger lives...after all, Lemmy's sound was pretty much ALL mids, and it doesn't get a lot angrier than that. My Shuker's a flexible animal with two EMG 40P pickups in it, but if I crank the mids on the U-Retro, it gets very very cross indeed...