Lozz196

Most definitely, my preference at present is .73, I have 3 different types: Fender Medium - nice warm, even/vintage sound Dunlop Tortex - more upper mids and highs to the sound Dunlop Ultex - modern, scooped sound At home I prefer the Fender, but for the band the Tortex

In my old band where I need a harder attack I use .88, in my classic rock band I`m on .73, and looking at .60 as want to reduce wear & tear on my poor paws. I find with the Precision being quite middy a thicker pick encourages lows & highs better, whereas with my Sandberg Jazz being less middy the thinner pick helps bring mids back in.

£146 for a US Fender, must be genuine

So it’s really a 41 🤣

The RM is def an unsung hero imo.

Not sure about the Jazzes but the Precision ones are very much like the Fender Custom Shop 62s, maybe the Jazzes follow suit?

Must have been a very proud moment

My old band played in EU a few months back, from memory it’s ok to take guitars & amps but not cabs (I think). Apparently it’s not as difficult as many have tried to make out. I’ll see if I can find out what’s needed.

Next up for me is another Knock Off gig, supporting Therapy? at The 229 Club, London.

I’ve not suffered this specifically but about a month back my left wrist was hurting a bit so I raised the strap a bit and for about a week, playing or not I wore a wrist support which went over my thumb, and 2 thick wristbands.

I’m a combination of black/white/blue, with blue probably being more me than the others.

As a Fender man I’d always look at Squier - even the Affinity range can be amazing once set up properly.

I use regular scale Elixirs on my Mustangs, fit fine

Good news, easy replacement at not much cost

How high up is the Presence control, this can be a tad hissy if high up.

Another possible buzz issue is the spring on the bridge if not fully stretched. It seems like fret buzz but actually from the other end of the bass so took me a fair while to identify when it happened on one of my basses.

That’s apparently how Cliff Williams of AC/DC uses his. I tried it, couldn’t get on with it. Wish I’d been able to use it in the band tho (was bought & sold during COVID), who knows, might have loved it. Did try my 3-band eq ‘Ray with the band, just couldn’t get it to work - which in Lozz Speak means I tried to make it sound like a Precision and failed.

Panicked at Rebellion when setting up, no volume from the bass at all, due to start in less than a minute. Hadn’t pushed the jack plug from my lead fully into the tuner.

Same here, on my Ashdown RM500. More than once! And more than twice!! I`ve now typed up an instruction on that Dymo ticker-tape stuff and stuck it on the front panel saying to check the mute button if no sound.

Jazz Basses - I`ve learned to love them, but it took me a while (and a good few) Stingray Basses - The third member of the holy trinity, I love how they play, love how they sound when others play them, just not when I play them Flatwound strings - I love the playability, but can`t get on with the sound, though have heard plenty of other people sound great with them Compressors - no matter how they`re set, either by me or by someone who actually knows how to set them, to my ear they never sound as good as the bass without them

Well since the above I’ve decided to leave both gigging bands, leaving me in just one band (classic rock covers, no singer) which doesn’t gig and had no intention of. Still playing and having a laugh, none of the stuff I no longer like.

Difficult but I’ll go 2 for Flea

Scumbags

A very good point there, in pubs & smaller venues with no FOH it’s only band members (and more often than not the lead gtr) to blame.

That`s the ideal for me for a covers band set-up, the main bit being non-heavy hitting drummer, worth their weight in gold.