Lozz196

For myself it’s a mixture of favourites, OCD & fear. 1 - Favourites - my fave range is the US Standard Fender Precision 2013-16. 2 - OCD - I like my gigging basses to be the same colour scheme & range 3 - Fear - I have my fave bass (1), which I’ve done so much with that I won’t take it out of the flat for fear (3) of some scrote thieving it. So I have to have 2 others in the same range & colour scheme (2) for gigging. I wish I could be a musician who is happy to have all different makes & colours and not be precious about them but I just can’t, no point in denying who I am to myself.

For years I did, due more to funds than anything else, as in my early 20s lager was the greater priority. And I was gigging a lot back then.

Def, I went through a phase of hearing other bassists playing Stingrays and absolutely living the sound. But in my paws they sounded rotten.

Don’t mention the war, I did once but I think I got away with it!

Having been on the “journey” of gear I’ve found that my faves are US Fender Precisions and specifically the 2013-16 Series. I’m happy with pretty much any Precision but those are my faves. And yes, no matter what bass I’ve used most of the bands I’ve been in couldn’t tell any difference on the new pickups/strings/pedals/anything, you know, the stuff that was clearly obvious (to only me it would seem).

It’s almost inevitable isn’t it. I have found that a 412 is a good deflector. If after asking them a few times to move and they don’t just walking into them with said 412 helps a lot.

Dunno but I can def add to it. Think it was the third time we played Rebellion, I set up, no sound, so started in a panic to check all my gear. Hadn’t plugged my lead into the amp from my pedals. D’oh!

Can’t be The Skids, they were - and still are - great. My old band supported them a few years back and their set was awesome, and Richard Jobson was an incredibly nice chap.

I’m comfortable in the knowledge now that I could be better than I currently am. A few years back I thought I was as good as I’d ever get - which wasn’t all that to be honest - but over the last couple of years I’ve learned to play stuff I would have thought beyond me. And I’m now sure I could still do better. But am I good enough for what I need to do, yes.

But as it plays ok I’ll forgive you just this once

It looks a bit poor to me. Too much myth about the Sex Pistols as it is, and this looks to add to it, I can see why John Lydon was reluctant about it.

I’m sorry I don’t understand why 165 watts into a 300 watt cab would have destroyed it. But I’m also sorry as I haven’t made myself clear, I wasn’t advocating put full power into anything and just strum away and possibly damage gear, far from it. What I meant was that a lot of gear is so powerful nowadays that the potential to damage it before damaging both the users and their band mates hearing can be doubtful, so exercising caution and don’t go above the threshold where damage (possibly permanent damage) can occur is advisable. We read too many instances of people on here with tinnitus/hearing loss. You’ve made a good point and one I’ll remember as I can see how my words could have been misconstrued.

Not sure I understand the above. But I do know I’d rather not get into an argument, the forum has been relatively nice and peaceful recently so I don’t want to change that.

Good call on Hiscox cases, that’s what I used for flying gigs. I saw the baggage handlers help my bass to fly by launching it onto the conveyor into the plane, but when it was back in my possession at the other end the bass (and the case) was fine. I’ve read about people using Mono gig-bags in the hold, but for me Hiscox is where it’s at for that job.

I had a black guard on a buttercream Precision, I thought it looked pretty good.

It’s happening on ebay too, quite often get the message “I’ll pay via ebay and collect at an agreed meeting place on the same day”. No, you’ll pay cash at an agreed meeting place. Silence.

There’s a really great demo of the Aguilar DB 599 on YouTube, I think if I were after a teeny weeny compressor that’s where my money would go.

Tony Butler was a very under-recognised part of Big Country’s sound.

Yes, the v2 version though so not quite as harsh or scooped. It just removed the fullness from the sound, although made each individual note stand out more. I’d reckon some toppy flats like Rotosounds or Chromes would work, which is in fact what I’m going to do at next rehearsal.

In my classic rock band we have bass, drums, guitar & keys. The keys player only plays what is on the recording on those songs which had keys, and then just adds in what is needed more as a rhythm instrument on those which didn’t. At the last rehearsal I tried my Sansamp and it wasn’t a success, the sound of the band was much better with just my steel rounds strung Precision into the studios Ampeg stack, lows dropped a bit for the room, highs boosted for a bit of clarity. I suppose it makes for a more supporting sound, but with potentially two lead instruments I figure that’s what I should be doing (tho Zep, Purple & Rainbow basslines aren’t simple plodders but any means).

I had a 5 string Precision that came with a Comfort Strapp and have to admit I was shocked when I weighed the bass as I was selling it to find it weighed 10lbs as it felt much less than on that strap.