Lozz196

Super bargain!

For me the main issue that I’ve found is the not being able to return to the Romford branch, a situation that hasn’t been brought about by the B word.

Re Darkglass, not sure about the pedals but the bassist of The Cockney Rejects uses one of their amps and doesn’t get the typical metal tone at all, more like a regular bass amp sound so I’d assume the same can be achieved with the pedals.

I’m the same, my 2015 US Precision is the bass I feel most comfortable and familiar with, unfortunately the Precision sound is a bit too full for my current band so it’s taking a back seat at present.

I’ve practiced a lot more. A lot of this is to do with having a new band/project so want to keep on top of the much more difficult material that we play, but I’ve also learned a fair few songs that I’ve always liked but either never had the time to learn or didn’t have the confidence to have a go at. Luckily as the material for the new band is more complex it’s given me more faith in my abilities and so far I’ve been ok with them. So yes, these lockdowns have helped me become a better bassist.

Marshall MB, Ampeg BA, Fender Rumble, Ashdown After 8, all good amps that are plenty enough for home use.

Great idea Paul, the addition of Sky Arts to Freeview has been great, done really good programmes in there, and not just music, the hour long getting to know actors shows are excellent too.

That’s a great idea @crawford, I’ve been chopping & changing trying to work out which bass to use in my current project, and I think following the above will get me there, all but the one I think is best for it in cases out of the way and just concentrate on really getting to grips with just the one rather than alternating between four.

In general I’ve had decent service from them, one slight hiccup but overall it won’t stop me from using them again. I agree with the sentiments that we as bassists are better off with a dedicated outlet like BD.

Great rock sounds, reminded me a lot of Black Stone Cherry, hopefully when normal life returns I’ll be able to get to one of your gigs.

Thus is one of the many reasons why I’ve never married or been in a long term relationship, I’d find it very difficult to accept someone attempting to tell me what I couldn’t spend the money that I get up and go to work for on.

I understand where you’re coming from Mick, I’ve found the right Precisions & Jazzes for me but simply can’t find the right PJ configuration bass. I’m thinking of just putting in a J pickup in one of my Precisions as this seems to the only way I’ll get the exact spec that I’m after.

Is this your own material @bagsieblue as I really like it.

Same here

Looks like a decent amp, I suspect that Harmonic Emphasis control will be pretty intriguing to those of us that like fresh new string sound.

Great, thanks for the tip

Well my 210/410s were Ashdown ABM EVO-IV cabs, the 212 set ups I’ve had - all of which were good I should state - were Markbass CMD121P & NY121, Barefaced Super 12T & Barefaced Big Twin 2. All good set ups but as well as preferring the sound of the ABM cabs there was a depth & overall bigness to the sound of that stack that wasn’t there with any of the 212s. I would say though that the 212s in terms of that depth & bigness were pretty much the same as the ABM410 on its own. So my preference isn’t volume so to speak, but that depth/bigness that you get from multiple speakers. Similarly why I like Marshall amp heads with matching 412s rather than their combo amps.

Good call Stew, same for me, first time my lone bass failed at a gig was the last time I only took one bass to a gig.

I’ve found that as long as people are sensible with the volume control that big cab set ups just sound better, to my taste. A band with an 810 & 412 set up playing to the volume of the kit just has a better depth to it, again, for how I like to hear music. I’ve never had an 810 (though played through many) but my 210 & 410 stack sounded better than any of the 212 set ups I had.

I had exactly that moment about 10 years ago, great on stage sound, just the right amount of lows and highs, but when I went out front to check levels it was just a booming mush. I’ve therefore learned that an on stage sound that I find is too trebly & twangy translates to the audience as a well measured bass sound that fits in the mix just right. Edit - and this was with a single 4x12 cab.

I found that pretty much all of the presets on the B3 were much too full on. Try editing them and backing off on the levels of the effects.

When we played with them he spent most of the time saying some very un complimentary things about Jimmy Pursey. The bizarre thing is that that’s literally how he introduced himself to us. The venue was only tiny so it was difficult to get an idea if they were any good or not, but in their favour they did play my fave Sham song, No Entry.

Nice one, got to be worth checking out.

That would be what is laughably known as the official Sham, I think at one point they had either an original drummer or second guitarist. The other proper version is Jimmy Pursey, Dave Parsons & Dave Tregunna from the original line up, with a new drummer. And very good they are, I’ve played with them a few times and they certainly know how to get the audience going.

For my last band as I was so focused on it I sold my guitars so that I only played bass, and therefore could only write on bass. I didn’t want the distraction of a different instrument getting in the way.