Lozz196

I can see this thread heading in one non-European direction....

I found that exact same thing on the A, and where on other brands I’d cut them to 10cm to wrap around the tuning pegs I needed 13cm to stop this with the Warwicks.

What better place to hide, than in plain sight......

And rather bizarrely at our current rehearsal rooms - when we’re allowed to rehearse of course - there’s one like it there. The difference in the eq I need on my amp for it is pretty shocking - in the other rooms I just set up as would be expected but this specific one, well again it’s cut lows and boost highs pretty much all the way. Rotten cab, we’ll avoid that room once we can go back.

Def going to sell, Tim, I’ll take a couple of pics tomorrow in better light and send them over.

It is good, I’d say the easiest to use pedal compressor I’ve had, and probably the best sounding. And you might not have to wait that long for that bargain as I’m going to be offloading mine. Why, if it’s so good, I hear you ask. Well both my amps have on-board compression and as I both only use a slight touch of compression this will do, plus i’ve just bought a high-pass filter pedal so need the room on my pedalboard. And I really don’t want to become a pedal-monster so it’s 3 max in Lozz-Land.

Well I decided on the HPF/LPF version without the mids function - I’ve enough eq on my amp & Para Driver. Worked out at £158 inc postage (postage is 40 CAD). Looking forward to receiving it.

Entirely reasonable

From recall pretty much the same, if anything the flats are a bit stiffer as I found the Swingbass easier to play.

That’s it, just what I wish I’d done, for me it would be something like: Knock Off - Sat 02 June 2018 Rebellion Festival, The Melkweg, Amsterdam, The Netherlands Fender US Precision/Tech21 Para Driver/Provided Ampeg SVT 810 Stack Good - Band played well/no mistakes, great audience reaction Not Good - landing in Schipol at 23:30 to a message from our hotel saying “thanks for your cancellation” then having to sort out another hotel. Aaarrgh!

Well now having evaluated the update to this is the fiver isn’t needed at present but what I will be adding is a Squier Affinity PJ in black (possibly a Seymour Duncan Quarterpounder Precision pickup for it) and a Broughton High Pass Filter pedal. I’m determined to only go down the 5-string route when the material I’m playing tells me that I need to.

In a quest to establish the right gear for me I’ve bought & sold so much this year. Rather ironically I’ve ended up with very similar gear as to what I started off the year with. It’s been a fun way of making this strange year a bit more tolerable. I now still have a lot to sell but there’s no rush

I’ve just read (Sir) Horace (Gentleman) Panters book, Ska’d For Life, and one of the things that impressed me was his recollection of gigs. Like many of us on here I’ve done stacks of gigs, however due to me liking a drop or two when I was younger I’ve little recollection of many of them. This extends to gigs I’ve done after I quit, I reckon I’ve just ruined my memory. I’ve even met up with past band mates at times who have reminisced about certain gigs we did and I can’t remember them at all. So upshot is, I really wish I’d kept a gig diary of where/when/which band/gear used/what went well/what didn’t go well. Hindsight eh?

@Dad3353 haven’t you heard the 11th Commandment, as a bassist thou shalt join Basschat and be plagued by GAS for the rest of your natural life?

Can you play as if using a pick but with the fingernail on your index finger? I sometimes do that and I really like the sound.

I think that’s the key, Chris, whenever I hear a bass line that reignites a Stingray purchase, as soon as I play it on said ‘Ray it just doesn’t sound right, whereas once I play the line on a Precision I sound like me again.

I suppose I’m kind of lucky that most of my fave players use Precisions (big surprise of the year, lol). Still doesn’t stop the temptation though, I must just be weak of will ☹️

Agree, TC Polytune Clip is excellent, the only clip on tuner I’ve been able to use live without any problems. All the others had problems with the E in a live environment, and with background music, not the TC.

Agree, in general this has been the thing that has influenced my purchases of Stingrays over the years, however every time I’ve done this I’ve realised yet again that I just don’t like the sound they make when I play them.

Yep, then the only bit visible to the audience is the clip part, which often is smaller than the logo of the manufacturer.

And I’ve now got it, am halfway through and it’s a very good read so far.

I’m ok but in my old punk covers band the singer was dreadful. And it used to make me laugh that when we played Gangsters by The Specials inevitably he’d scream at me: ”Whats the first word”. So I’d shout “Why”. And then he’d shout “Cos I’ve forgotten it”. So I’d shout back”Why IS the first word”. And so on......

Pretty much the same as @Marvin be in a band. Never had any aspirations to any specific venues, just after seeing the “live” bit in Bohemian Rhapsody I knew that’s what I wanted to do.

No not really, I was in a band with 3 gtrs, 2 basses, drums & keys so we had to all find our own sonic space. I was the “low down” bass, most work done on E & A, locking with the drums.

On my PF500 I engaged the Ultra Low, left all the rest of the eq at midday, and had compression at 10 o’clock, gain at 2 o’clock (set to the light flashing as per the manual). For finger style I’d probably engage the Ultra Hi as well .