I was talking with a younger player the other day about their set up, a Line 6 rack through a 4x10 powered by a digital 1000w 1U amp. As we talked i came to realise he can get many sounds from his set up, but not always the feel. I spoke about how when i was growing up we physically matched bass to amp to cab, as guitarist had to do. So i talked about the difference of a P bass though a Marshall as opposed to a P Bass through a Marshall, or a Hi-Watt, or an Acoustic. How using flats or roundwounds was a factor, how cabinet combinations were a factor, and how whether you used your fingers or a pick was an option to the sound you created. Apart from the sound we learned about the feel, the amount of air moved, that these combinations created, some of them against tue natural tone of a bass, John Jacque Burnell for example was never a P bass sound, but Geddy Lee's sound in Rush was classic Ric, as was many players who used them. There are many example s from Jaco to Stanley Clarke, Jack Bruce to Paul McCartney etc, of players that once apon a time had to physically put set ups together, so learned on another level about bass playing sounds. So my new young friend had never done any of this, a great player, sure he has the chops, but i got the feeling that just in dialling in sounds he is missing out on something. The fact he could have that John Jacque Burnell sound and use his fingers rather than a pick was great, but for me it did not feel right. OK maybe because i am from a different era i know what feels can be got, because through trial and error, and wasted money, i have been through this, watched and talked to many players of varying basses and rigs. So I got first hand accounts, and got to hear and feel these combinations, so i got anoher level of learning, so to speak, to add to my experience, or predjustice, in later life to draw on. I will add, in the last 6-7 years i have recorded most things using my, Line 6 Studio110, in the R 'n' B setting, because it sounds like my old Ampeg, but does not feel like it. But in the studio it does not move air, so does not vibrate the room, or create overtones in the room. As it is being recorded its tone and feel is in a producers hands, not mine, so i do not sweat it using a software amp in a studio. So my question would be, do you feel that this learning was just of its time, it did not really make a difference? Or do modern combinations cover this ground, and more, because the only limits are your imaginations when using software amps? What were some of the classic combinations you grew up with, tried, liked or dis-liked?