Muzz

The P-bass sound is as much about positioning as it is pickup construction. If the Musicman pickup you have is in the same place, then it might be worth looking around, but if it isn't then you're compromised to start. There are soapbar pickups which are P-type pickups underneath and sound very very like P-pickups (the EMG P-35/40s I have in one bass, for example), and I've a Nordy Bigman which is a MM shell with two Big Singles in it, and one of them can get close, but it'd only be close if it's under the right bit of the string... Other then that, I don't know of any offhand, I'm afraid.

I tend to sound like myself no matter which bass I'm playing, or which room. Or even which amp, really. Whether that's a good thing or not is entirely subjective I don't have a single tone - I have tones I like personally, and tones which work in the particular song. When it comes to playing live, though, there's so many factors affecting tone/sound everywhere from right at the amp to out front of house that I don't sweat if I don't hear my bestest tone/sound as long as the band sounds the best it can in the circumstances. It's all a bit of a compromise, really: I don't think perfection is ever really achievable anywhere outside a recording studio, and even then I've done that and it's not been perfect.

One of the best sounds I've heard in a good while was Blackberry Smoke at the Ritz in Manchester. I was standing near the desk, and I watched the sound engineer adjust a very few things during the first song, then pretty much stand there with his arms folded the rest of the gig. BS have gears, and they took the band sound up and down, from full-on rawk to verry simple and quiet, from the stage itself with guitar volume controls (yep, them ) and their hands. Then I went to see Alter Bridge at the Arena, and it was literally painfully loud at the sides of the Arena, and exactly as above: stupendously overloud kick, and indistinct rumble instead of notes from the bass, and everything else was a buzzsaw. Horrific: we left about halfway through. Which was odd, as the support bands sounded better (quieter), although the inherent kick/bass problems were there, too...

[quote name='dood' timestamp='1499797647' post='3333714'] I really want to stack three Berg cabinets on top of each other to see what it sounds like!! 2 ohms all the way! [/quote] Hem hem...you only need down to 2.67 for three 8's, but they do sound gooood... Well, did... [sharedmedia=core:attachments:219208] FWIW, I'd also think that the power module in these is at least a variant of the ICE one used in lots of the newer Class Ds... Edit: Yep, if it's anything like the one in my Magellan, it's very....hefty. There, I said it...

I've sold basses through Bass Direct, and in one case there was an offer lower than the asking price. I was emailed to ask whether this was acceptable, we discussed the resultant final figure and I agreed. It was more than a £30 drop, though. I've not encountered the £30 fee for photography, but then my basses have always sold. Perhaps they've been stung by people using them as a shop window and then selling elsewhere: I've seen basses advertised as 'also on sale at Bass Direct', and their pictures and listings are always good...

I've sat/leaned on my BF cab(s) plenty without giving it a thought. In fact I've never given a thought to sitting on any cab. Nor have I ever encountered anyone who has given a thought (other than manners-wise) to sitting on any cab. It seems a spurious worry to me. Next we'll be discussing how flammable BF cabs are...

To be honest, it's never crossed my mind, and I must be 75 gigs plus so far with BF cabs of various types. I must just be the trusting type...

I've said this before, but like it or hate it (and I suspect most will hate it), they're the singalong band bar none these days. I see it most gigs... And I'm still with his brother on Liam: “He’s rude, arrogant, intimidating and lazy. He’s the angriest man you’ll ever meet. He’s like a man with a fork in a world of soup.”

Schaller 3D all day: as has been said, the lateral adjustment is really easy and if, like me, your right hand spends any time on the bridge, it's very comfortable.

Yep - the band was 2 guitars, neither of whom had backline, just into the PA and using monitors, and a drummer I'd describe as not the quietest I've ever played with, but not the loudest, either. The LMII and 210 wasn't enough to monitor onstage - well, there was a vague mushy rumble, but nothing useful. The sound guy hadn't put me in the monitors because I'd technically had backline, and I'm sorry I did. Frustratingly, I had my Super Twin and Walkabout sitting in the boot of the car outside...that'd have done it...

There's a lively thread about the chap from Royal Blood...

[quote name='pmjos' timestamp='1499017151' post='3328615'] If you can play Chic Corea's 'Spain' those Duck Dunn lines will come out better. [/quote] I watched a band recently that proves that isn't by any means an inevitability. Very technically and musically talented players making 'simpler' funk and soul sound...soulless....and unfunky...

Nope, not for me - jazz means as little to me as it did 40 years ago. YMMV, etc, etc...

I think this is perfect illustration of one's man's loud being another man's not loud enough. I played a multi-band gig last night, and the LMIII and 210 backline just wasn't enough. PA support picked up the slack, but as backline in that particular environment (cricket club clubhouse), with that particular band, it wasn't enough. I'm sure it would have been more than enough for another band in another situation.

I've just remembered the Unholy Double on this one, because it happened on Satdy night: the mithering punter (after trying to shout up several times - we were on a 3ft high stage with in-ears, good luck with that) who ostentatiously left his request on a piece of paper at the singist's feet, complete with multiple exclamation marks. As luck would have it, it was on the setlist, so we announced it as a request and played it next. Did he get off his arse or react in any way? Nope. Singist was a bit naffed off: "That was your request mate...did you like it? The traditional response is applause, you know..." He started to clap, and the singist said "No, don't start now, it just makes us feel needy..."

So I was at a rehearsal last night for a scratch band which has been assembled for a charity gig at the weekend - as I've mentioned before, I don't rehearse all that much, and where I do, there's no provided kit. Anyway, at this rehearsal room there was an Ampeg 810 provided, so it seemed rude not to...I'd brought my Walkabout (this was a Rawk band rehearsal), so I plugged it in and... 1. Holy Ampage of Anchorage, the Walkabout goes VERY VERY LOUD through a biiiig cab...it was huuuge. There's a lot said about TE watts on here, but those Walkabout Watts are mahoosive... 2. For the first two songs, there was just a wall of bloomy bass behind me...very grin-inducing, but then... 3. Where's my definition gone? Where's the proper snarl? I ended up twiddling the EQ to try and get the sound I get from the Walkabout and the Super Twin, but couldn't quite get there. 4. I plugged my Super Twin back in, and there it was...like a duvet lifted... I guess I would've needed some time to re-EQ properly, so it's not exactly a scientific A-B (it was a surprise, after all), but it was very much a mixed result. The ST [i]did[/i] sound like a smaller cab, but then again, that height of the 810 helps a lot - I think a pair of stacked Super Compacts instead would close that gap considerably* Then, just to complete the experience, I shifted the 810 back across the room into the far corner. Ooog. I strolled out with the ST in one hand without looking back. Much. * Oh no, GAS......

Without wanting to get into any sort of competition, this is just sublime...ff to about 1:10. It's worth it. https://youtu.be/3O72lItS4OA

Agree with lots on here: I thought they were absolute class, and the bassist got to show off...a bit too much. I get that BE's boots are really a bit too big to fill, but it kinda sounded like he was overcompensating to the detriment of the songs. His finger tone was great, the slap was waaaay too intrusive. Oh, and the cock ends on the stage at the end pointing phones at players from a foot away got right on my nerves: you're invited onstage for a boogie with Chic at Glasto...don't bother experiencing it, stand still and hold your phone in people's faces...ffs...

Your car'll break down...

Just had a listen to the first song on the link...now THERE'S a bass sound (and mix)...fantastic Was that you on the recording, BRX?

[quote name='FinnDave' timestamp='1498119568' post='3322575'] I can now chose, depending on the size of the gig, between the Super Compact, the Super Twin, or both... [/quote] Do let us know what sort of gig you're playing where you need both, Dave...I'm imagining Wembley without FOH...

The one I had (and I'll stress that: it was one bass, bought online unseen) was not a great bass: the action was very high (the nut seemed to be cut very high), I couldn't get it anywhere near smooth (and I don't have a very low action - I'm a clunker who hits them hard) - the bridge didn't help with that - and there seemed to be more than one dead spot: if fact the whole bass just didn't ring or sing (acoustically), if that makes sense. I might've persevered for the looks alone had it not been such a lot of money. That price point is into luthier territory, where I've always found standards (and consistency of standards) to be very very high. At current prices, it's even deeper into luthier territory... I should add I've played some ropey Fenders, too (as well as good ones) of nominally identical models, but again, at half the money it's easier on the head to work with them...

I got some very nice distortion from both my Streamliner and currently from my Magellan...I thought the LM Tube and Rocker were a bit...fizzy in this regard... My Walkabout does it best, though...

Conan, he speaks the truth...

Hey Al, Well, it's all very subjective, and the basses I have at the moment cover a lot of ground and are all active - they all have John East Retro EQs, which have sweepable mids, and I can get everything I could need out of them. My two main Shukers are both (new) in the price bracket, and the Dingwall is close. The 4003w I had (and again, it was only one, I was probably just unlucky) unplugged didn't feel or play well enough - I think I said (on here) at the time, if I'd closed my eyes I'd have said it was a sub-£500 bass: it didn't zing or sing, and if a bass doesn't do that, no amount of plugging in and EQ and amplification's gonna fix it. All IMHO, YMMV, etc, etc, of course - I'd reiterate if you've played one that you liked, that worked for you, then there's no reason not to buy it.