Lozz196

I think if I were to have to take a bass to a session where I had no idea of what genre/style then it would be my Jazz, but to a session where it was my preferred music style then Precision all the way.

Gary’s based in Hoddesden, does all the work which I can’t do (so pretty much everything) and his work is both excellent and priced well.

A good range of artists there Pete

Is a trip into Hertfordshire too far? If not our very own @gary mac might be able to look at this for you.

Very good points there, I`m in agreement, whilst I`d say my fave genres are punk & rock there`s a good amount amongst those that I`m not keen on, and similarly many of my fave songs are from neither, so I`d say really I`m a fan of songs, irrespective of genre.

Yeah I had to play the rest of the song lying flat on my back - I raised a leg so the audience could see I was still there though

If you’re looking to gig regularly it might be worth buying a Trace amp head to have as well as the combo, then at gear share gigs if another bassist has provided a cab you can still get your sound rather than having to find room on a (most likely) cramped stage for your combo. Otherwise I’m in agreement, keep the combo, Trace gear is good and reliable.

Being rather well fuelled of the amber nectar I fell over on stage once whilst performing like a rock star. Taught me a valuable lesson that, which was stand still then you can drink bucketloads.

Same!

Not last night but Thursday, we played at The New Cross Inn in SE London. We headlined, was only my third gig with the band. We didn’t sound check, just went on stage with not even a line check just plugged into the provided amps and set our sounds (Sansamp very helpful in this situation), then went for it. As we were headlining we’d put 2 new songs into the set, with only one rehearsal, so I found those a bit difficult structure-wise, but they went ok. Being mid-week it was very sparsely populated but we played well and got some good applause from those who did attend. I’m liking this band, there’s a relaxed attitude to it that I’m not used to, and which is quite welcome. It is a bit of a culture shock though and at times I find myself biting my tongue a bit but I remind myself that that’s how they’ve operated for years and I wanted to join, so keep big mouth shut & chill.

Interesting reading Jack, curious as to why you chose this one over the two naturals - aside from its looks of course. Was it playability or sound that swung it?

It’s funny isn’t it, many of us on here have gone for the cleanest possible sound there is, yet these seasoned pros who are revered around the world seem to either not care that much, or actively shy away from clean sounds.

I’ve heard an Ampeg V4B & Ashdown 410 (8ohm cab) in gig mode, was plenty loud enough in a punk band in a medium (120ish) venue.

I find that on quicker complex material my fingers fall all over themselves on a Jazz. This is probably due to my many years on Precisions so I’m used to the extra space.

For weddings gigs, which are very well paid and in general you’re the only band I think it’s better to have the gear to hand and never need it than the other way and potentially ruin someone’s big day. As well as for the playing ability they’re paying for professionalism. I’ve only ever needed a backup once in 40 years gigging. Quite typically I didn’t have one with me, but it was a multi band bill where we mostly all knew each other so things went ok.

I’d look at the Orange Bass Butler preamp pedal in that case Clarky, that way you’d get a similar sounding item as your backup.

I’ve had both, the Keeley was easier to set up to an incompetent like myself, the MXR more fiddly but also able to do a lot more I would think. But in terms of sound both were very good. For a set & forget pedal to tame peaks & even things out the Keeley is difficult to beat.

Assuming using one’s own speakers in the rig where the amp goes I’d say one of the little amps, and probably choose the Warwick down to its greater power. If I knew I was playing gigs with FOH and good monitoring then it would’ve been the Sansamp route as easier to set up & carry. I have had to do this, when the provided amp for the gig had blown, I just plugged into the Sansamp, that went to FOH & monitors, we played barely noticed any difference to the regular setup. But of course if there were no FOH or monitors…..

At a gig I played last night the bassist in the 1st band used a Mustang, sounded really good.

I’ve never been able to get a Jazz to work for me in a band setting, probably because when I hear me playing I’m expecting to hear a Precision. I can get pretty near but it’s just not quite enough. That said I love Jazz basses, just bought one recently off of here, a great 2015 and it’s getting a lot of use at the moment.

I’m a bit different re this, all my fave players played Precisions, I loved the sound of them, so for some reason instead of buying one early in my playing career I bought different basses and tried to get them to sound like a Precision (none ever did btw). When I eventually got round to buying one it was like switching on a light.

That’s pretty much it for me too, Chris, whilst a song/songs might not be my personal choice it’s audience reaction that dictates if they’re in the set or not. In my old punk covers band there were so many great album tracks we could have done but most of the audience wouldn’t have known them, so we stuck to the Punk Top 40 in the knowledge pretty much everyone would be familiar with the songs, if not the original artists.

I’m not too bothered, just more glad I’m not going mad and remembering something that hadn’t happened

My current one does, tho I’m sure my first one didn’t.

In an old glam/rock covers band we did Born To Be Wild, I hated it but it always went down really well.