Muzz

[quote name='chris_b' timestamp='1502097599' post='3349230'] Every time I gig. I don't care about someone else's definition of good or bad songs and I don't care who wrote them. If the band played well (and so did I) and the audience loved it then you can't ask for more. I usually inhabit "old fashioned" music so a recent discovery for me was to find out how good the songs of artists like Jessie J and Beyonce actually are to play and the positive audience reaction you get when you play these songs. [/quote] This. We added a Shawn Mendes tune to the setlist the other day, and I've got socks older than him, but it's a great tune, people like it, and they get up and dance to it. All good.

[quote name='only4' timestamp='1501887389' post='3348095'] Hmmm it looks like you ACG aficionados were right, one is never enough! I went to see Drew again at the GBBL This one has a very different sound with the split coil front and stacked coil bridge pickups, also it utilises a modded version of the East P retro pre-amp. [/quote] That's lovely, and split coil/East retro is right up my street. I've loved every ACG I've played, tho the bodies of all but the Krell are a little small for me. If I wasn't a confirmed Shuker fanboy, I'd have more than one, too.

[quote name='blue' timestamp='1501350021' post='3344230'] I've never been to the UK. As a kid I always heard the phrase "Foggy London Town". I thought it was just a joke thing. My point, is it ever nice outside? Blue [/quote] I'll have you know, Blue, that we have fantastic summers in the UK. Especially in the North West. This year's was on a Wednesday. I was in work, unfortunately...

I do both, and I've never noticed a volume drop either way with any bass. I always use the same pick (.88 Jim Dunlops), have done for eeee bah gum years (35+) so I guess I've just subconsciously adjusted, and over the years (decades, eeek ), it's become completely natural. I change between pick and fingers precisely to achieve a different sound, so I rarely have to adjust the EQ more than a touch.

Oooo, great fun - and dead easy for me ...and I'd have Jon Shuker do it. [b][u]Style[/u][/b] [color=#282828][font=helvetica, arial, sans-serif]Traditional or custom – Traditional Thunderbird[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]No of strings - 4[/font][/color] [b][u]Woods[/u][/b] [color=#282828][font=helvetica, arial, sans-serif]Body (inc finish) – Ash body, figured mahogany drop-top, tobacco burst gloss[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Neck – Maple, wenge stringers[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Fretboard – As highly figured birdseye maple as I could find[/font][/color] [b][u]Hardware[/u][/b] [color=#282828][font=helvetica, arial, sans-serif]Machine heads/tuners – Hipshot Ultralites with D-Tuner[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Nut (material and width) – Brass, 1.5" Slim neck carve[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Frets – 21[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Pickups – two of those new Dingstrand Nordwells with nickel covers and rings[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Pre-amp - John East U-Retro[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Pickguard (if any) - Normal TBird[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Bridge – Hipshot D Style two piece[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Strings – brand, gauge and type – D'Addario NYXL 45-105s[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Other - Dunlop straplocks[/font][/color] [color=#282828][font=helvetica, arial, sans-serif] [/font][/color][color=#282828][font=helvetica, arial, sans-serif]Edit: Right, if Dood's having two, can I have a Dingbird in a traditional tobacco burst with chrome hardware? Ta. [/font][/color]

[quote name='skankdelvar' timestamp='1501692107' post='3346636'] Probably just me but I could never get a sound I liked. [/quote] Definitely not just you. There's a reason they're cheap as chips these days, although the nostalgia card for some folk will up the price. A bit like godawful late 70s Fenders... Having said that, if the sound works for you and you can live with the weight, then bingo - a cheap big rig And the Class D trolling? Don't even start me on that...

+1001

Another opinion. I give up.

Your original post was about Vanderkley and Barefaced cabs, and there's been a broad spread of opinion, all of which is personal, but there isn't a single post which would argue that they aren't amongst the very best choices around. What you've asked, using your example above, is "Is a German Custom Streamer Stage II better than a German Custom Corvette?" And the answer, removing purely personal preferences, is still...no. The question remains, and will remain, down to personal taste in tone and design, and therefore completely unresolvable.

We regularly pull £100 a man for 2 x 45 (well, we do more, but not much more than 2 hours) with a break, so this ain't good money. It is more regular, though, so I'm guessing he's after young desperate pros, or wannabe pros...

We have a pair of RCF 310s and one sub, which is enough for bigger four-piece function gigs (kick and overhead, keys, acoustic guitar and vox, sometimes bass), but for pub gigs (unless we know it's a particularly big/loud gig) and for trio stuff we just use the tops. If you're not putting the drums into the PA, then they should be fine... Edit: Eeeek...ours are 710s...sorry for the bum info, tho I'm sure the 310s would be fine, too...

Really looking forward to trying one out: the danger being that if I really liked the sound of those pups and the body was nicer than my current Epi body, I'd be buying one to hack the neck off and Fenderbird it...

[quote name='drTStingray' timestamp='1501060423' post='3342089'] If your cover band is anything like the ones I play in you'll require a range of sounds and techniques...to be more than adequate you will need possibly a little more from the bass in your hands - in my experience On board EQ 2 pick ups ...mid range control are the main ways to get the variations needed to enhance your own technique to get the range which is desirable. [/quote] Apologies for butchering the quote, but that's about it from my POV, and I play in a band with a wiiiiide range of material, from Johnny Cash to Nirvana to By Jovi to Bruno Marsbar to Luther Van Doodah. A pair of PUs and my onboard EQs (all John East U-Retros, seeing as you're asking ) can scoop, honk, bark, growl or even drive the amp to grind, all from the bass(es). After that, it's down to me to play it right...which is the biggest variable...

[quote name='dood' timestamp='1500819916' post='3340355'] TLDR, but what I feel is way more important than your set of songs, (after all you probably have over 40 corkers to choose from) is the ability to read your audience. Know the demographic and the reason why they are there, then pick songs appropriately. A really obvious example: You want to keep them on the dance floor? Know what songs will kill their groove. - I mean, I am assuming that we are talking about a covers / function band here! [/quote] This, + a lot. The band leader for a good covers band (if they have a variety of material to work from) should work like a very good DJ, and the setlist should be able to be called on the fly if it's one of those nights. We had a thirty-ish song setlist for last Saturday, and ended up doing almost half of it from the 'backlist' as some stuff was going down massively better than others. We routinely shorten songs (one we only did one chorus... ) that aren't working on the night and move on...

Another +1 for the Positive Grid software - I run mine on my iPad with a Line6 input box and headphones, but powered monitors would work fine. Cheap software, and lots of great amps/tones/fx, plus the ability to shift key or speed of playback independently, if that's needed. The Bias FX package is verrrry comprehensive, too: I've only really scratched the surface of it...

I had a RH450 for a couple of years, and yeah, the presets are very useful - I used it when I needed a range of sounds for the function band, and it worked well. Still the best feature set of any of the amps out there (built-in tuner, compressor, etc, etc). The footswitch rounds it off (floor tuner display, presets, mute, etc)

Crack on, don't worry about it - it wasn't too long ago the shoe was firmly on the other foot, and pick players were looked down on...thankfully we've all moved on...

As mentioned above, a Super Twelve T will do the trick. Or a BB2.

Trace heads can be had cheap (if you can't borrow one), it might be an idea to try one through the Super Twin. You can always move it on if you don't like it. Then again, if your Precision punches but your jazz doesn't, it's hardly gonna be the cab...

Well, it says 'double splitcoil', so I'd think so. Contact Delano - I've done it before, and they were very helpful.

[quote name='Earbrass' timestamp='1500306863' post='3336813'] That's a lot of hazelnuts. [/quote] Well, I enjoyed that one, at least...

Gutted for you - I'll keep my eyes open Northside.

That looks very like a T-Bird Studio to me. I'm quite enjoying the 'slightly high' action

You don't mention the all-important (well, for gigging, anyway) PA situation, but I'd say in very general terms a 50s/60s rock n roll band in pubs and smaller venues should be doable even without PA support with any one of lots and lots of heads like you've mentioned and a 212. For bigger venues you'd want to be looking at going into the PA as well (my rule of thumb is if there's more than just the kick going into the PA, then I'll go in, too), but then you're not buying that

Hokay: firstly, that's a great looking bass - Fenderbirds FTW - but I can't see if the pickup has the MM 'ears' or not - I'm guessing you don't want to start routing. Secondly, if it's already a Kent Armstrong, I'd go with the advice above and contact them to see if they'll rebuild it as a Split-P type: I'm sure they would. Having said that, I can see the Bart pickup allows for split-type both forward and reversed, plus all four coils, with a three-way micro switch. I'd be tempted by that... Position-wise, there's plenty of resources a Google away that'll give you the exact position of a P-pickup. I'd say anywhere within 20mm would be pretty close. It looks quite close judging by the pic.