Lozz196

Write it a stern letter methinks Cracking looking rig, am extremely envious

I’m def not, in recording studio we always isolated the miked cab anyway, so whatever the fan is doing it’s not in the same room as the sound being recorded.

Elixir are based in the US. The US also had problems with supplies of these over the last couple of years - read about it on Talkbass. Covid affected the whole world. It’s not outside the realms of sensibility to think that a worldwide pandemic may affect supplies of items worldwide. Couple this with the changes that the b-word has undoubtedly brought items could be doubly affected, depending on where companies are based, items manufactured, supply chain routes etc. But in the case of musicians in the US unable to source strings made in the US, by a US company? Blaming the b-word for that, really? And aren’t LaBella based in New York?

I think a lot of it is the combination of an 810 in a rehearsal room, and my suspicions that said 810 is pretty ruined. As said tho, the Shape does add in a lot of extra lows so I just remove them, but it also does something with the mids that I can’t do without it engaged.

After many years of struggling with Jazzes I think I’ve finally found out a way to make them work for me. Ive never managed to set an amp to work well with a Jazz so now I set the amp the same as I would for my Precision (which with everything on the Jazz on full makes the it far too shrill on the top end for me) then use the tone & volume controls to get whatever sound I’m after. It tends to be tone on something like 75% then pickups depending on sound wanted. I’ve always been an everything on full kind of guy but am finding this is really working and am now - at last - understanding the versatility of the Jazz bass.

Well I’ve just decided to buy another. My last few have been maple fretboard, and I’ve found them to be very “toppy”, something I just couldn’t eq out. Given that I’ve just returned to my rosewood roots on Precisions for pretty much the same reasons, and really enjoying it btw, I thought get a rosewood fretboard Ray, see if that makes a difference. Hopefully will pick it up next weekend.

No worries Clarky, as requested. Only thing you can’t really see from the pic is the Shape function - I have this in the out/selected position. This is with it connected up to an Ampeg 810 so lows might need increasing with less cabbage. Edit - please ignore the gratuitous toe shot, thru just get in everywhere!!

Yeah years ago in a punk covers band one band member was always saying we shouldn’t gig for £250 as we were easily a £400 band. We agreed, go get us the £400 gigs. Still waiting……

He really is a crazy mofo

Could also be as a result (or combination) of the pandemic, I use Elixirs and luckily they last a long time as for a while they were really difficult to source.

Great idea having the different coloured stickers for the different basses, genius!

Yeah I was just being too lazy, I could never get the sound I wanted from their Ampeg, and realisation slowly hit, why have a great amp and then not use it in favour of one you don’t like. The Ashdown just has so much more of everything, I could set it to that felt as well as heard setting, which was very nice, and it didn’t turn to boomy sludge when doing this.

There’s a Download prog on Sky Arts this eve

They are, you’ll have a great time

There’s a US Standard on the bay at the moment in natural/rosewood, looks to be an ash body by the grain.

Guitarist looks like Danny Webb

Yep string gauge really makes a difference, I used to use 50-110 and when I bought a set of 45-105 it seemed like all my low end had gone. I’m used to the 45-105 now after many years but it was a fair surprise at the time.

And an update to the above, I’m so glad I did, the difference was pretty amazing, a real solid foundation building sound for the keys & guitars to work their magic on. Kept out of the sonic space that they occupy nicely, locking in with the drums in the best way. Coupled with our guitarists new Tremonti amp the band has never sounded as good.

I’m gonna be using mine this eve at rehearsal. I usually use the studios Ampeg SVT 350H out of sheer laziness, but the realisation hit me today, I spend so much time saying on here how much I love this amp maybe I should use it a bit more, so from now on it’s ABM600 all the way.

I’ve found the EVO IV to be “sharper” in sound/attack, plus the added eq helps shape it further. I think the Geezer HOD is pretty much the same as the ABM600, I had a go on one at Ashdown HQ and it was very familiar in sound and the feel to the sound.

A thumbs up from me 👍

Would have to be Bruce Foxton, I just love his melodic riffs that in most of The Jams material carry the song as much - imo - as the vocals. None of them too complex but on a lot of them he sings as well with cross-melodies.

Yep, had that, at an outdoor gig in a field mikes from anywhere got told - whilst wheeling the cabs to the field - we’d have to watch our volume levels. Maybe too many bands do play as loud as possible but that was a rather quiet band, albeit with three 412s as the backline.

Best amp I’ve ever had, had my first one for 3 years (which is pretty much unknown for me), sold it as was no longer gigging then realised my mistake (even tho I still wasn’t gigging) so bought another.